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THE ART OF THE BOOK

THE ART OF

THE BOOK

A REVIEW OF SOME
RECENT EUROPEAN
AND AMERICAN WORK
IN TYPOGRAPHY, PAGE
DECORATION & BINDING

CHARLES HOLME, EDITOR

MCMXIV

..THE STUDIO" LTD.

LONDON, PARIS, NEW YORK

Digitized by tlie Internet Arcliive

in 2011 with funding from

Tlie Ontario College of Art & Design

littp://www.archive.org/details/artofbool^OOIiolm

PREFATORY NOTE

THE Editor desires to express his thanks to the following who
have kindly assisted in the preparation of this volume : — to
the Trustees of the Kelmscott Press for permission to repro-
duce the pages printed in the three types designed by William
Morris, and to Mr. Emery Walker for the valuable assistance
he has rendered in the reproductions of these particular pages, and also
the page of Proctor's Greek type ; to Mr. Lucien Pissarro for allowing
the three pages by the Eragny Press to appear; to Mr. C. H. St. John
Hornby, whose page by the Ashendene Press has been especially set up
for this volume ; to Mr. Philip Lee Warner for permission to show two
pages by the Riccardi Press ; to Messrs. Chatto & Windus for the
page by the Florence Press; to Messrs. Methuen & Co. for the page
printed in the " Ewell " type ; to Messrs. H. W. Caslon & Co. for the
page of their new " Kennerley " type ; to Messrs. P. M. Shanks & Sons
for the page of "Dolphin Old Style" type; to Mr. F. V. Burridge
for the two pages especially set up at the London County
Council Central School of Arts and Crafts ; to Messrs. George Allen
& Co. for permission to reproduce the two pages designed by Mr.
Walter Crane ; to Mr. Percy J. Smith for the book-opening designed
by him ; to the Cuala Press, the Vincent Press, the Reigate Press,
Messrs. B. T. Batsford, Messrs. J. M. Dent & Sons, Messrs. George
Routledge & Sons, Messrs. Siegle, Hill & Co., for permission to show
various pages from their publications; and toMr.J. Walter West, R.W.S.,
for the pages designed by him. M The Editor's thanks are due to the
various bookbinders whose work has been lent for illustration, and to
Monsieur Emile Levy for the loan of the photographs of Mr. Douglas
Cockerell's bindings; to Mr. John Lane for permission to illustrate the
cover designs by Aubrey Beardsley ; and to Messrs. George Newnes for
the end-paper design by Mr. Granville Fell. M The Editor is also in-
debted to the various Continental and American publishers, printers,
type-founders, bookbinders and book-decorators who have kindly placed
at his disposal the examples of their work shown in the foreign sections ;
particularly to Herren Gebriider Klingspor, the Bauersche Giesserei,
Herr Emil Gursch, Herr D. Stempel, Herren Genzsch and Heyse,
MM. G. Peignot et fils. Monsieur L. Pichon, and Monsieur Jules
Meynial for the pages of type especially set up for this volume.

LIST OF ARTICLES

British Types for Printing Books.
Fine Bookbinding in England.
The Art of the Book in Germany.
The Art of the Book in France.
The Art of the Book in Austria.
The Art of the Book in Hungary
The Art of the Book in Sweden.
The Art of the Book in America.

By Bernard H. Newdigate
By Douglas Cockerell
By L. Deubner
By E. A. Taylor
By A. S. Levetus

By August Brunius

By William Dana Orcutt

PAGE

3
69

231
259

Vll

GREAT BRITAIN

BRITISH TYPES FOR PRINTING
BOOKS. BY BERNARD H. NEWDIGATE

TO judge rightly of the good or bad features of types used for
printing books, we should have some acquaintance at least
with the earlier forms from which our modern types have
come. Let us therefore glance at the history of the letter
from which English books are printed to-day. JS The earliest
printed books, such as the Mainz Bible and Psalters, were printed in
Gothic letter, which in its general character copied the book-hands
used by the scribes in Germany, where these books were printed. In
Italy, on the other hand, the Gothic hand did not satisfy the fastidious
taste of the scholars of the Renaissance, who had adopted for their own
a handwriting of which the majuscule letters were inspired, or at least
influenced, by the letter used in classical Rome, of which so many admir-
able examples had survived in the old monumental inscriptions. For the
small letters they went back to the fine hand which by the eleventh and
twelfth centuries had gradually been formed out of the Caroline minus-
cules of the ninth and had become the standard book-hand of the greater
part of Latin Europe. When the Germans Sweynheim and Pannartz
brought printing into Italy, they first printed books in a very beautiful
but somewhat heavy Roman letter of strong Gothic tendency. It seems,
indeed, to have been somewhat too Gothic for the refined humanistic
taste of that day ; and when they moved their press to Rome, it was
discarded in favour of a letter more like the fashionable scrittura
umanistica of the Renaissance. Other Italian printers had founts both
of Gothic and of Roman types. The great Venetian printer Jenson, for
instance, and many of his fellows printed books in both characters; but
the Roman gradually prevailed, first in Italy, then in Spain and France,
and later on in England. In Germany, on the other hand, the cradle-
land of the craft, Gothic letter of a sadly debased type has held its own
down to this day. Even in Germany, however, the use of Roman type
has gained ground of late years, nationalist feeling notwithstanding. J^
The Roman type used by the early Italian printers is, then, the proto-
type from which all other Roman founts are descended. Its develop-
ment may be traced through such Roman type as was used by Aldus at
Venice, by Froben at Basle, by the Estiennes in Paris, by Berthelet
and Day in London, by Plantin at Antwerp, by the Elzevirs at Leyden
and Amsterdam, and by printers generally right through the seventeenth
century and the greater part of the eighteenth. Through all these years
types still kept what modern printers call their " old-face " character,
which they had acquired from the scrittura umanistica of the Italian
Renaissance. In the seventeenth century the letters of the Roman

alphabet began to acquire certain new features at the hands of the
copper-plate engravers, who supplied the book illustrations of the period.
Working with the burin instead of the pen, they naturally used a sharper
and hner line and also modified somewhat the curves of the letters, which
tended to become more stilted and less open. The tail of the "R," for
instance, which in Jenson's type is thrust forward at an angle of about
forty-five degrees, at the hands of some of the seventeenth-century en-
gravers tends to drop more vertically, as in the " R" of" modern " type,
the development of which we are seeking to trace. How far and how
soon the lettering of the engravers of illustrations came to modify the
letters cast by the type-founders is a question which invites further
research. A material piece of evidence is supplied by the " Horace "
printed by John Pine in 1733. Instead of being printed from type, the
text of this book, together with the ornaments and illustrations, was
printed from engraved copperplates. In date it was some sixty years
prior to the earliest books printed in "modern-faced" type in this
country ; yet in the cut of the lines and the actual shape of the letters
many distinguishing features of the " modern " face may already be
traced. What these features became may be seen best by comparing an
alphabet of the " old " with one of the " modern " face printed below it :

ABCDEFGHI J KLMNOPQRSTUV
ABCDEFGHIJKLMNOPQRSTUV

WXYZ 1234567890
AVXYZ 123456*7890

abcdefghijklmnopqrstuvwxyz
abcdcfgliijkliiiiiopqrstiivwxyz

The "modern " tendency may be seen in certain features of the types
designed by Baskerville, who printed his first book in 1757 ; but it is not
nearly so pronounced as in Pine's "Horace, "engraved twenty-four years
earlier. Baskerville's editions had an enormous vogue, not only in this
country but on the Continent also, where they had considerable influence
on the style of printing which then prevailed. Amongst those who felt
this influence was Giambattista Bodoni, a scholar and printer of Parma,
which city has lately kept the centenary of his death. To Bodoni more
than anyone else the so-called " modern-face" is due. He cast a large
number of founts, narrow in the " set " or width of the letters as com-

pared with their height, and having the excessively fine lines and the
close loops and curves which are characteristic of that face. Like
Baskerville he printed his books with very great care on a spacious
page in large and heavily-leaded type; and although an occasional
protest was raised against the ugliness of his letter, his books caught
the taste of his day, and his type was copied by all the English
type-founders of the time. The new fashion completely drove out
the older tradition, which dated from the very invention of print-
ing; and from the closing years of the eighteenth to the middle of
the ninteenth century books were printed almost exclusively in
" modern-faced" type. Jff The older and more authentic letter had its
revenge in 1843, when the publisher, William Pickering, arranged
with his friend Charles Whittingham, the printer, to produce a hand-
some edition of Juvenal as a " leaving-present " for Eton ; and the book
was to be printed from the discarded type first cut by William Caslon
about the year 1724. Prior to that time English printers had gone to
Holland for most of their type ; but Caslon's types surpassed in beauty
any hitherto used in England, and the best English printing had been
done from them till near the end of the century, when they were driven
out by the "modern" face. Before the Juvenal was issued, a romance
entitled " The Diary of Lady Willoughby," dealing with the period
of the Civil Wars, was also printed in old-faced type cast from William
Caslon's matrices, so as to impart to the book a flavour of the period at
which the diarist was supposed to be writing. It was the day of Pugin
and of the Gothic revival ; and the public taste was won by the appear-
ance of this book, printed in old-fashioned guise in the selfsame
type which had been cast aside half a century before. Type-founders
are generally quick to follow one another's lead in new fashions ; and
before long every type-founder in England had cut punches and cast
letter in that modified form of Caslon's old-faced type which printers call
"old-style." Mr. Adeney of the Reigate Press has used an " old-style "
fount in the extract from Camden's " Britannia " reproduced on a very
small scale on page 57. The " old-style " character and the points in
which it is either like or unlike the more authentic old-faced letter may be
seen by comparing the two. The lower of these founts is the " old-style " :

ABCDEFGHIJKLMNOPQRSTUV

WXYZ 1234567890
WXYZ 1234567890

abcdefghijklmnopqrstuvwxyz

The favour which the revived " old-face " and the new " old-style "
letter won for themselves in the middle of last century has suffered no
diminution since. The ugly " modern-face," which we owe to Bodoni,
is still used almost exclusively for certain classes of work and alter-
natively for others ; so that the printer is bound to be familiar with
all three. For book-printing at the present day the " old style "
and the " old-face " are used much more than the modern. JS During
the hftv years that followed the revived use of Caslon's types by
the Whittinghams there is little else to record about the designs of the
types used for printing books, until about the year 1890, when William
Morris set himself to design type, fired thereto by a lecture, given by Mr.
Emery Walker, on the work of the Early Printers, to which he had
listened. In the "Note by William Morris on his aims in founding
the Kelmscott Press," printed after his death, he writes of the purpose
which led him to print books, and of the character besought to give his
letter : " I began printing books with the hope of producing some
which would have a definite claim to beauty, while at the same time
they should be easy to read and should not dazzle the eye by eccentricity
of form in the letters. I have always been a great admirer of the calli-
graphy of the Middle Ages and of the earlier printing which took its
place. As to the fifteenth-century books, I had noticed that they were
always beautiful by force of the mere typography, even without the
added ornament with which many of them' are so lavishly supplied.
And it was the essence of my undertaking to produce books which it
would be a pleasure to look upon as pieces of printing and arrangement
of type. . . . Next as to type. By instinct rather than by conscious
thinking it over, I began by getting myself a fount of Roman type. And
here what I wanted was letter pure in form ; severe without needless
excrescences ; solid without the thickening and thinning of the line,
which is the essential fault of the ordinary modern type and which
makes it difficult to read ; and not compressed laterally, as all later type
has grown to be owing to commercial exigencies. There was only one
source from which to take examples of this perfected Roman type, to
wit, the works of the great Venetian printers of the fifteenth century, of
whom Nicholas Jenson produced the completest and most Roman char-
acters from 1470 to 1476. This type I studied with much care, getting
it photographed to a big scale, and drawing it over many times before I
began designing my own letter ; so that, though I think I mastered the
6

essence of it, I did not copy it servilely ; in fact, my Roman type, espe-
cially in the lower case, tends rather more to the Gothic than does
Jenson's. After a while I felt I must have a Gothic as well as a Roman
fount ; and herein the task I set myself was to redeem the Gothic char-
acter from the charge of unreadableness which is commonly brought
against it. And I felt that this charge could not be reasonably brought
against the types of the first two decades of printing : that SchoefFer at
Mainz,MentelinatStrassburg,andGLintherZaineratAugsburg,avoided
the spiky ends and undue compression which lay some of the later types
open to the above charge. . . . Keeping my end steadily in view, I de-
signed a black-letter type which I think I may claim to be as readable
as a Roman one, and to say the truth I prefer it to the Roman. This
type is of the size called Great Primer (the Roman type is of ' English '
size) ; but later on I was driven by the necessities of the Chaucer (a
double-columned book) to get a similar Gothic fount of Pica size." JS
Pages printed in each of Morris's three founts of type are reproduced
here on pages 14, 15, 17 and ig. It is interesting to compare Morris's
"Golden" type — so he called his Roman fount after the "Golden Le-
gend," which he printed from it — with the Roman letter of the Italian
printers, which he studied with so much care before he began to design
his type. The "Golden" type is much heavier in face than, say, that ot
Jenson ; and it certainly lacks the suppleness and grace of the Italian types
generally. As a point of detail we may notice especially the brick-bat
serifs used on Morris's capital "M " and "N," giving a certain clumsiness
to these letters. The two Gothic letter founts which Morris designed,
on the other hand, must be regarded as amongst the most beautiful ever
cast. William Morris's types should be judged on the setting of richly
decorated borders which he designed for his pages. Adding to these the
designs of Sir Edward Burne-Jones, engraved on wood by W. H. Hooper,
we have in the Kelmscott " Chaucer " the most splendid book which has
ever been printed. JS The "Golden " type of the Kelmscott Press was
copied freely in America and sent back to the country of its birth under
several different names. In somewhat debased forms it had a vogue for
a time as a "jobbing" fount amongst printers who knew little or
nothing of the Kelmscott Press ; but the heaviness of its line and also
its departure from accepted forms kept it from coming into general use
for printing books. The interest awakened by the books printed by
William Morris at Hammersmith tempted many more to set up private
presses or to design private founts of type when the work of the Kelm-
scott Press came to an end after Morris's death, which took place in
1 896. Most of such founts and the best of them followed more or less
closely the letter of the early Italian printers, which, as we have seen, are
the prototypes of our book letter of to-day. Even before the founding

of the Kelmscott Press Mr. Charles Ricketts had designed books, using
some of the "old style" faces which were in general use. When the
Kelmscott Press books appeared, he too was won over by what he called
the " golden sunny pages " of the early Italian printers, and designed
for himself the "Vale" type. In weight and general appearance it bears
considerable likeness to Morris's " Golden " type, and in some ways is
an improvement on it. Mr. Ricketts afterwards had the same letter
cast in a smaller size for his edition of Shakespeare, whence its name
of the " Avon " type. He also designed another letter, the interest of
which lies in certain experiments towards the reform of the alphabet
which it embodies. In the "King's" type, as Mr. Ricketts called it,
many of the minuscule letters, such as e, g, t, are replaced by small ma-
juscules. Such a departure from traditional use is too violent to give
pleasure, and only two or three books were printed in this letter. The
three Vale Press founts and also the punches and matrices were des-
troyed when the Press ceased publishing. Jff Mr. T. J. Cobden-San-
derson and Mr. Emery Walker set up the Doves Press at Hammer-
smith in 1 900, and designed and got cast for themselves a fount of type
which follows Jenson's Roman type very closely. It differs from it chieiiy
in the greater regularity of its lines, and also in the squareness and
brick-bat shape of some of the serifs, which are, however, less conspicu-
ous than in Morris's " Golden " type. The Doves Press books, unlike
those of the Kelmscott Press, are entirely free from ornament or decora-
tion, and owe their remarkable beauty to what Morris styled the archi-
tectural goodness of the pages and also to thefine versal and initial letters
done by Mr. Edward Johnston and Mr. Graily Hewitt. Later on we
shall have something more to say about the work of these men and their
school. J& The type of the Ashendene Press (p. 23) is modelled from that
in which Sweynheim and Pannartzprinted Hooks at Subiaco, and which,
as we have seen, they replaced by a purer Roman letter more in accord
with the humanistic taste oftheir day. Morris himselfdesigned, but never
carried out,afount of letter afterthe same fine model. It is a Roman type,
with many Gothic features. The folio " Dante," the " Morte Darthur,"
the Virgil and the other books which Mr. St. John Hornby has printed
from it in black and red, with occasional blue and gold, are superb ex-
amples of typography. 3& Mr. Lucien Pissarro's little octavos have a cer-
tain personal charm of their own distinct from any thing that is found in the
more weighty volumes which have issued from the other private presses.
Thefirst bookswhich heproduced at his Eragny Press were printed from
the Vale type belonging to his friend Mr. Ricketts. In 1903 he began
printing from the "Brook" type (pp. 25 to 29), which he had de-
signed. Although in this article we are concerned chiefly with his types,
it is impossible to withhold a tribute of praise for the graceful beauty of
8

these little books, which they owe even more to the admirable way
in which their different elements have been combined — type, wood-
engraving,.colour, printing and binding, all of them the work of Mr. and
Mrs. Pissarro themselves — than to the individual excellence of any one
of them. M Mr.C. R, Ashbee's "Endeavour" type was designed by him
for use at the Essex House Press, which he first established at Upton in
the eastern suburbs of London and afterwards removed to Chipping
Campden in Gloucestershire. It owes nothing to the types of the early
printers, and taken by itself is not pleasing ; but it makes a very hand-
some page when printed in red and black, as in the Campden Song Book.
The type was also cut in large size for King Edward's Prayer Book, one
of the most ambitious ventures of any private press. JS Mr. Herbert P.
Home has designed three founts, all of them inspired by the Roman letter
of the early Italian printers. The " Montallegro " type (p. 265), the first
in order of date, was designed for Messrs. Updike and Co., of the Merry-
mount Press, Boston, and hardly falls within the scope of this article.
In 1907 he designed for Messrs. Chatto and Windus a fount called the
"Florence" type (p. 3 1), from which editions of "The Romaunt of the
Rose," " The Little Flowers of St. Francis," A. C. Swinburne's " Songs
before Sunrise," R. L. Stevenson's " Virginibus Puerisque " and also his
Poems have been printed at the Arden Press on behalf of the publishers.
It is a letter of a clean, light face, and in many ways might serve as a
model for a book type for general use. The capital letters used in con-
tinuous lines, as Aldus and other great Venetians delighted to use them,
are especially charming. Mr. Home's Riccardi Press type (pp. 33 and
3 5) was designed for the Medici Society, andmany fine editions, amongst
them a Horace, Malory's " Morte Darthur," and " The Canterbury
Tales," have been printed from it. It is a little heavier in face
than its predecessor, the " Florence," and is a little further removed
from the humanistic character. The type has also been cast success-
fully in a smaller size. M To the number of privately owned founts
of type we must add the " Ewell " (p. 37), designed by Mr. Douglas
Cockerell for Messrs. Methuen and Co., who will shortly publish the
first book to be printed from it, an edition of the " Imitatio Christi,"
It is a heavy but very graceful letter, based on one used by the Roman
printer Da Lignamine. M One of the most interesting of the privately
owned founts is the " Otter " Greek type designed by the late Mr.
Robert Proctor, and shown in the page from the Odyssey printed on
page 43. The Greek letter from which most of our school classics are
printed is a descendant of the cursive type introduced by Aldus at the
beginning of the sixteenth century, and has the merit neither of beauty
nor of clearness. The majuscules are especially ugly, being nearly
always of the " modern " type which we owe to Bodoni. Proctor took

as his model the finest of the old Greek founts, which was that used
in the Complutensian Polyglot printed in 1 514. JS" Amongst the
tvpes sold hv the founders for general use none have enjoyed such
successive favour as Caslon's *' Old-Face " in its various sizes ; and it is
a splendid tribute to the excellence of this letter that at this day,
nearly two centuries since it was first cut, it is being used more than
any other face oftvpe for printing fine books. This Special Number
of The Studio is printed from Caslon's " Old-Face " type, as well
as the pages, set up at the Central School of Arts and Crafts, which are
shown on pages 45 and 47. The fame of Caslon's letter brought other
rivals into the field besides Baskerville. One of these was Joseph Fry,
a Bristol phvsician, who took to letter-founding in the year 1764,
and cut a series of type somewhat like Baskerville's. A few years
later, however, the Caslon character seems again to have recovered its
old ascendancv, and Fry put on the market a new series in acknow-
ledged imitation of Caslon's. Both these series of Fry's have been
reissued within the last few years by Messrs. Stephenson and Blake, of
Sheffield, who, in 1 906, bought the type-founding business of Sir Charles
Reed and Son, to whom Fry's business had eventually come. Like the
revived Caslon "Old-Face" in 1843, ^^^se founts were cast from the old
matrices, or from matrices struck from the old punches, so far as these
had survived. M Since the " old-style " founts were designed about the
middle of last century, what new book types have been cast by the
founders for use by the printing trade generally have as a rule been mere
variations of letter already in vogue. The founders have drawn but
little on the wealth of beautiful book types which in the early printed
books of Italy are offered to anyone who has the good taste and the skill
to adapt them to modern needs. Messrs. Shanks and Sons, the type-
founders of Red Lion Square, have, however, gone to this source for
their "Dolphin "series (p. 41), which has many features of beauty to com-
mend it. It is based on Jenson's Roman letter, somewhat thickened in
the line. The punches were cut by Mr. E. P. Prince, who also cut the
Kelmscott type and many others of the private founts. M Intelligent
st udy of Italian models also gives us the "Kennerley" type (p. 3 9), designed
by the American Mr. Goudy, which Messrs. Caslon will shortly put on
the English market. This type is not in any sense a copy of early letter —
it is original ; but Mr. Goudy has studied type design to such good pur-
pose that he has been able to restore to the Roman alphabet much or
that lost humanistic character which the first Italian printers inherited
from their predecessors, the scribes of the early Renaissance. Besides
being beautiful in detail his type is beautiful in the mass ; and the letters
when set intowordsseemtolock into one anotherwithaclosenesswhich
iscommon in the letterof early printers, but is rare in modern type. The
10

" Kennerley " type is quite clear to read and has few features which by
their strangeness are likely to waken the prejudice of the modern reader.
Since the first Caslon began casting type about the year 1 724, no such ex-
cellent letter has been put within reach of English printers. JtfSo large is
the proportion of books which are now set in type by machinery that,
however much our sympathies may make us prefer the hand-set book,
we cannot but be concerned for the characters used in machine com-
position. Type set by machinery generally seems to be inferior in design
to that set by hand ; but the inferiority is in the main accidental, and is
probably due to a lesser degree of technical skill shown either in the
designing or in the process of punch-cutting, which is itself done by
machinery. One or two admirable faces of type have, however, been
produced by the Lanston Monotype Company for setting by the mono-
type machine. One of these is the " Imprint " type, adapted from one of
the founts used by Christopher Plantin, the famous printer of Antwerp,
in the late sixteenth century. The letters are bold and clear, and pages
set in them are both pleasant to look at and easy to read. At the same
time the type is sufficiently modern in character not to offend by any
features unfamiliar to the ordinary reader. M No art can live by merely
reviving and reproducing past forms, and in reviewing the share taken
by the type-founders of the past and of the present in the art of the
book one cannot help considering by what means and from what quarter
good types are to be designed and cut in the future. We have seen
that the early printers took their inspiration from the best of the con-
temporary book-hands. The invention of printing, however, killed the
art of the scribe, and with it perished the source whence during the
ages past life and beauty had been given to the letters of the alphabet
and to the pages in which they were gathered. Henceforth the letters
were cast in lead, and there was no influence save the force of tradition
to make or keep them beautiful. Whatever change they underwent
was for the worse, unless indeed it was a mere reversion to forms or
features which for a while had been abandoned. Jff Conscious of this
downward tendency, which he seems to look upon as inevitable and
irresistible, Mr. Guthrie, of the Pear-tree Press at Bognor,has renounced
type altogether, and now prints books, like William Blake, from etched
plates inscribed with his own fine book-hand. Such a method is, of course,
not practicable for the vast majority of books, even if we were willing to
forgo the many fine qualities which are presented in a well-printed
book. Neither is any such counsel of despair warranted, for of late years
the art of the scribe itself has been renewed ; and most readers of The
Studio know something of the fine work done by the school of cal-
ligraphy established some ten years since by Mr, Edward Johnston, and
still carried on by his pupil Mr. Graily Hewitt at the Central School

1 1

of Arts and Crafts in Southampton Row, London. May not the printer
look to that school as the source whence the type-designer and type-
founder shall learn to desi irn and cut beautiful letter for his books ?
Not indeed that tvpe-letter should be a mere reproduction of any
written hand ; rather must it bear nakedly and shamelessly all the
qualities which the steel of the punch-cutter and the metal from which
it is cast impose upon it. It must be easy to read as well as fair to look
on, and besides carrying on the traditions of the past must respect the
prejudices of the present. But only a calligrapher whose eye and hand
have been trained to produce fine letter for the special needs of the
printed book can have knowledge of the manifold subtleties of such
letter and power to provide for them in the casting of types. If the
writing schools can turn out such men, they will deserve well of all
those who are interested in the art of the book. That our hope need
not be vain is shown by the fact that calligraphers trained in the
methods of the school have gone to Germany, and have there pro-
foundly influenced the production of modern types ; and the supreme
irony of it all is that German type-founders are sending to England
new types which draw their inspiration from a London school of which
the English and Scottish type-founders seem never even to have heard.

Note — In the course of the preceding article the writer has had occasion
to refer frequently to the type of Nicholas Jenson in its relation to the
modern British founts. The Editor has therefore included amongst the
examples shown a page from the "Pliny," printed by Jenson in 1476,
for purposes of comparison and reference. It will be found on page 2 1 .

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XXXII. Row the Olorm came to the Rowland bow be
wm robbed of a cup ; and bow be fell on tbe f olh;?^

OXZ at all witb self /wielding tbe craft of tbe

worm/boards

Re sougbt of bie own will, wbo eore bimeelf

barmed;

But for tbreat of oppression a tbrall, of I

wot not

^bicb bairn of man hind, from blows wratbf ul fled,
Rouse/needy forsootb,and bied bim tberein,
H man by ^uilt troubled* XTben soon it betided
/Cbat tberein to tbe guest tbere stood grisly terror;
Rowever tbe wretcbed,of every bope waning

tTbe ill/sbapen wigbt, wbenas tbe fear gat bim,
Xlbe treasure/vat saw ; of sucb tbere was a many
^Qp in tbat eartb/bouse of treasures of old,
Hs tbem in tbe yore/days, tbougb wbat man X know not,
ITbe bu0e leavings and loom or a kindred of bigb ones,
(Sell tbmking or tbougbts tbere bad bidden away.
Dear treasures* But all tbem bad deatb borne away
In tbe times of erewbile; and tbe one at tbe last
Of tbe dougbty of tbat folk tbat tbere longest lived,
iCbere waxed be friend/sad,yet ween'd be to tarry,
Tbat be for a little tbose treasures tbe longsome
)VIigbt brook for bimself . But a burg now all ready
Olonn'd on tbe plain nigb tbe waves of tbe water,
]^ew by a ness, by narrow/crafts fastened;
Qlitbin tbere tben bare of tbe treasures of earls
XTbat berd of tbe rings a deal bard to carry.
Of gold fair beplated, and few words be quotb :

KELMSCOTT PRESS: PAGE FROM THE TALE OF BEOWULF" PRINTED
IN THE "TROY" TYPE DESIGNED BY WILLIAM MORRIS (REPRODUCED
BY PERMISSION OF THE TRUSTEES OF THE KELMSCOTT PRESS)

NOTE BY WILLIAM MORRIS
ON HIS AIMS IN FOUNDING
THE KB LMSCOTT PRESS^^

BEGAN printing books with
thehopeofproducingsome which
would have a definite claim to
beauty, while at the same time
they should be easy to read and
^^^ should not dazzle the eye, or trou^
ble the intellect of the reader by eccentric
city of form in the letters. I have always
been a great admirer of the calHgraphyof
the Middle Ages, & of the earherprinting
which took its place. As to the fifteenths
centurv books, I had noticed that they
were always beautiful by force of the mere
typography, even without the added or^
nament, with which many of them are
so lavishly supplied. And it was the es^
senceofmy undertaking to produce books
which it would beaplcasureto look upon
as pieces of printing and arrangement of
type. Looking at my adventure from this
point of view then, I found I had to conx
sider chiefly the following things: the
paper, the form of the type, the relative
spacing of the letters, the words, and the

KELMSCOTT PRESS: PAGE PRINTED IN THE "GOLDEN" TYPE
DESIGNED BY WILLIAM MORRIS (REPRODUCED BY PERMISSION
OF THE TRUSTEES OF THE KELMSCOTT PRESS)

oua hanno pennero fquameto cortecdaro gufao: comefono laTeftugine:ouetameti
te hano lapelle pulita:conie foho leferpi.Taglado laparte difopra delle pene nocrefco
no tfueglendole rimettono:Glinfed:i hanno ale di pannicoli &:cofi le rondini marine
& cpipiTlrelli: Ma lale diqueftj hanno ledita.Dalla groffa pelle efcono epeli afperi, Le
femine glhano piu fottilKEcauagli nel coUo 6c eleoni nelle fpalle glhanno maggiori*
Etaffi glhanno nelle gote drento & ne piedi:lequali due cofe Trogo attnbuifce ancho
ra alia lepre:&: con quefto exemplo conclude che glhuomini libidinofi fono pilofi.La
lepre e ueloaffima fopra tutri glaniniaIi,Solo Ihuomo mette epeli nellcta apta agene
rare: Ilche fenon e:dimofl:ra ftenlita cofi nel mafchio come nella femina. Epeli nel hu
omo parte ringeneranoinficme:partepoi. Quegli che fono infieme con lui generati
non manchono dipoi come ne anchora molto.Sonfi trouate alchune che quando get
tono ecapelli diuentano inualideicome anchora nel fluxo del meftruo. Equadrupedi
mudano ogni anno. Amafchi aefcono aflai nel capo dc poi nella barba. Taglati non
rimettono m fu lataglatura come rimettono lherbe:ma efcon infuori dallaradice.Cre
fcono in certe malame &c maxime nella tofla &c nella uecchiaia 8c ne corpi mora. E co
geniri caggiono piu todo a libidinori:Ma enati crefcono piu tofto* Nequadrupedi in
groflano per la uecchiaia dc lelane diuentano piu rade.Edofli dequadrupedi fono pilo
fi: euentri fanza pelo.De chuoi de buoi cocendogli fifa optima colla.Item de tori. So
lo di tutri glanimali Ihuomo mafchio ha lepoppemeglaltri animali emafchi hano cer
ti fegni dipoppe:Ma ne anchora le femine hanno lepoppe fenon quelle che pofTono
nutrire efigluoli. Quegli che generano huoua non hanno poppetNeffuno animale
ha lad:e fenon quegli che generono animali.Tra gluccelli folo elpipiftrello.Credo che
fia fauolofo quello che fidice delle Streghe che mughino ellacfle inboccha a faaulli.E
nelle BeAenue antiche queflo nome di (IregheiMa non fifa che uccello fi fia*

NATVRA.DELLE POPPE DEGLANIMALI.CAP.XL.
a Lafine dolgono lepoppe dopo elparto : Ilperche Ifuezano lafinino elfexto me^*
fe:conaofia che lecaualle dieno lapoppa un anno .Tutri glam'mali che hano un
ghia dun pezo non generano piu che due per uoltame hanno piu che due poppe6^ ql
le nel pecflignonemel medefimo luogho Ihanno quelle che hanno lunghia didue pezi
& fono cornute:le uacche quattrorle pecore Qc capre due.Quelleche partorifcono piu
che due dc hanno le dita nepiedi hanno molte poppe per tutto eluentre in due filari.
Le troie generofe hanno dodid poppede uulgari clue meno. Similmente le cagne. Al^
chune hanno quattro in mezo del corpotcome fono lepanthere. Alchune due chome
fono le tioneffe.Lohelephante folo ha due poppe fotto lebracda 8c no nelpecflo.Nef
funa che habia dita nepiedi ha poppe nel pecfhgione.Eporcellini prima nari fucdano
leprime poppe ficbenchehabbinolaltrepreflo alia boccatdafchuno conofce lefuc in
quello ordine che e nato dc c6 quella fmutnfce &c non con altra.Et leuato un porcellio

PAGE FROM THE " PLINY " PRINTED AT VENICE BY NICOLAS JENSON IN 1476

SICCOME DICE IL FILOSOFO NEL PRIHCIPIO
dclla Prima Rbsofia *tutti gli uomini natumlmente dcsu
dcrano di sapere/ La ragione di cbe puote essere, cbe
ciascuna cosa, da provvidenza di propria natum impint^
t inclinabik alia sua perfezione, Ondc, accioccbe la scu
cnza t I'uldma perFezione della nostm anima, nella quale
sta la nostm ultima felicica, tutti natumlmente al suo desiderio siamo
soggetti. Vemmente da questa nobilissima perfezione molti sono
privati per diverse cagioni cbe dentro dalPuomo, e di fiiori da esso,
lui rimuovono dall'abito di scienza, (JJDentro dalPuomo possono
essere due diFetti e impedimenti : Puno dalb parte del corpo, I'altro
dalla parte delPanima, Dalla parte del corpo ty quando le parti sono
indebitamente disposte, siccb^ nulla ricevere puo ; siccome sono sop
di 8Z muti, e loro simili* Dalla parte delPanima ^, quando la malizia
vince in essa, siccb^ si Fa seguitatrice di viziose dilettazioni, nelle
quali riceve tanto inganno, cbe per quelle ogni cosa tiene a vile, Di
(uori dalPuomo possono essere similmente due cagioni intese, Puna
delle quali t induttrice di necessita, I'altm di pigrizia. La prima t
la cum Famigliare &i civile, la quale convenevolmente a s^ tiene degli
uomini il maggior numero, siccb^ in ozio di speculazione essere non
possono, L'altm t ildiFettodel luogo ove la persona ^nata enudrita,
cbe talom sam da ogni studio non solamente privato, ma da gente
studiosa lontano, ^Le due prime di queste cagioni, cio^ la prima
dalla parte di dentro &l la prima dalla parte di (uori, non sono da
vitupemre, ma da scusare &C di perdono degne; le due altre, avve^
gnacb^ Tuna piii, sono degne di biasimo e d'abominazione, Mani/
Festamente adunq^ puo vedere cbi bene considem, cbe pocbi riman^
gono quelli cbe alPabito da tutti desidemto possano pervenire, e>i
innumembili quasi sono gl'impediti, cbe di questo cibo da
tutti semprevivono aFFamati, O beati que' pocbi cbe
seggono a quella mensa ove il pane degli
Angeli si mangia, e miseri quelli
cbe colle pecore banno
comunecibo!

ASHENDENE PRESS: PAGE PRINTED IN GREAT PRIMER TYPE MODELLED UPON
THE TYPE USED BY SWEYNHEIM AND PANNART2 AT SUBIACO IN 1465

FOR THE LIBERTY OF
UNLICENCD PRINTINQ.

^ M T** V ^HO TO STATES
**•■-•*& GOVERNOURS
OF THE COMMONWEALTH
DIRECT THEIR SPEECH.HIQH
COURT OF PARLAMENT. OR
WANTING SUCH ACCESSE
IN A PRIVATE CONDITION,
WRITE THAT WHICH THEY
FORESEE MAY ADVANCE the
PUBLICK GOOD; I SUPPOSE
THEM AS AT THE BEGIN/
NING OF NO MEAN ENDEA.
VOUR, NOT A LITTLE AL/
TER'D AND MOV'D INWARD/
LY IN THEIR MINDES: SOME
WITH DOUBT of WHAT WILL
BE THE SUCCESSE, OTHERS
WITH FEARE OF WHAT WILL BE THE CENSURE; SOME
WITH HOPE. OTHERS WITH CONFIDENCE OF WHAT THEY
HAVE TO SPEAKE. AND ME PERHAPS EACH OF THESE
DISPOSITIONS, AS THE SUBJECT WAS WHEREON I EN/
TER'D. MAY HAVE AT OTHER TIMES VARIOUSLY AFFECT/
ED; & LIKELY MIGHT IN THESE FOREMOST EXPRESSIONS
NOW ALSO DISCLOSE WHICH OF THEM SWAY'D MOST
BUT THAT THE VERY ATTEMPT OF THIS ADDRESSE THUS
MADE. AND THE THOUGHT OF WHOM IT HATH RE/
COURSE TO. HATH GOT THE POWER WITHIN ME TO A
PASSION. FARRE MORE WELCOME THEN INCIDENTALL TO
A PREFACE, WHICH THOUGH I STAY NOT TO CONFESSE
ERE ANY ASKE, I SHALL BE BLAMELESSE. IF IT BE NO
OTHER, THEN THE JOY AND GRATULATION WHICH IT
BRINGS TO ALL WHO WISH & PROMOTE THEIR COUNTRIES
LIBERTY; WHEREOF THIS WHOLE DISCOURSE PROPOS'D
WILL BE A CERTAINE TESTIMONY. IF NOT A TROPHY. FOR
THIS IS NOT THE LIBERTY WHICH WEE CAN HOPE. THAT

>©

ERAGNY PRESS: OPENING PAGEOFTHE " AREOPAQITICA '■ PRINTED IN THE "BROOK-
TYPE, WITH BORDER AND INITIAL LETTER DESIGNED BY LUCIEN PISSARRO

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THE MIDDLE OF NIQHT BY THE«^
CASTLE CLOCK.
AND THE OWLS HAVE AWAK/
ENED THE CROWING COCK,

TU— WHIT ! TU WHOO !

AND HARK. AGAIN! THE CROW

ING COCK.

HOW DROWSILY IT CREW.

ERAGNY PRESS: OPENING PAGE OF COLER.DGES " CHRISTABEL- FAINTED IN THE
••BROOK' TYPE, WITH BORDER AND INITIAL LETTER DESIGNED BY LUCIEN P15SARRO

FROM BOCCACCIO'S LETTER TO PE-
TRARCH. DESCRIBING HIS VISIT TO
FRANCESCA. PETRARCH'S DAUGHTER.
AT VENICE. IN THE YEAR MCCCLXVII.
6 TELLING OF ELETTA, FRANCESCA'S
LITTLE DAUGHTER.

WE sat chatting in your garden, and some
of your friends who were there joined
in the talk. Francesca most graciously
pressed me to make myself at home, and proffered
me your books & all your belongings. -all she had
Iwastoconsidermine;butnotforamomentdidshe
forget the modest demeanour of the perfect wife.
She was welcoming me, when, lo, there before me
was your dear little Eletta, my little friend 1 How
gracefully she came along ! One could not have ex-
pected such grace in so young a child. Before she
could know who I was, she smiled at me so sweetly.
What joy was mine when I saw her ! What a hunger
seized my heart as I held her in my arms I At first I
thought it was my own girlie -the little maid once
mine. Need I say more ? You'll hardly believe me.
But ask Doctor William of Ravenna and our friend
Donatus. They know. Your little Eletta is the very
image of my lost one. She has the same laugh, the

FLORENCE PRESS: PAGE FROM BOCCACCIO'S OLYMPIA" SET IN ENGLISH
TYPE DESIGNED BY HERBERT P. HORNE, AND PRINTED AT THE ARDEN PRESS.
LETCHWORTH, FOR MESSRS. CHATTO AND WINDUS

THE SONNETS OF MR. WILLIAM
SHAKESPEARE : TO THE ONLIE BE-
GETTER OF THESE INSUING SON-
NETS, MR. W. H., ALL HAPPINESSE
AND THAT ETERNITIE PROMISED
BY OUR EVER-LIVING POET WISH-
ETH THE WELL-WISHING ADVEN-
TURER IN SETTING FORTH. -T. T.
THE FIRST SONNET FOLLOWETH

^ROM FAIREST CREATURES WE DE-
SIRE INCREASE. THAT THEREBY
BEAUTY'S ROSE MIGHT NEVER DIE.
BUT AS THE RIPER SHOULD BY TIME DE-
CEASE. HIS TENDER HEIR MIGHT BEAR HIS
MEMORY: BUT THOU. CONTRACTED TO
THINE OWN BRIGHT EYES. FEED'ST THY
LIGHTS FLAME WITH SELF-SUBSTANTIAL
FUEL. MAKING A FAMINE WHERE ABUND-
ANCE LIES. THYSELF THY FOE. TO THY
SWEETSELFTOOCRUEL. THOUTHATART
NOW THE WORLD'S FRESH ORNAMENT
& ONLY HERALD TO THE GAUDY SPRING.
WITHIN THINE OWN BUD BURIEST THY
CONTENT AND. TENDER CHURL. MAK'ST
WASTE IN NIGGARDING. PITYTHE WORLD.
OR ELSE THIS GLUTTON BE. TO EAT THE
WORLD'S DUE. BY THE GRAVE AND THEE.
% HERE FOLLOWS SONNET THE SECOND

RICCARDI PRESS: PAGE FROM "SONNETS OF SHAKESPEARE • PRINTED IN 14 AND 11 POINT CAPITALS DESIGNED
BY HERBERT P. HORNE. BORDER FROM BERNARD PICTOR AND ERHARDT RATDOLT'S" APPIANUS." 1477

Marius the Epicurean

stream of moving lights across the white Forum, up the great
stairs, to the palace. And, in effect, that night winter began,
the hardest that had been known for a lifetime. The wolves
came from the mountains; and, led by the carrion scent,
devoured the dead bodies which had been hastily buried
during the plague, and, emboldened by their meal, crept,
before the short day was well past, over the walls of the farm-
yards of the Campagna. The eagles were seen driving the
flocks of smaller birds across the dusky sky. Only, in the
city itself the winter was all the brighter for the contrast,
among those who could pay for light and warmth. The habit-
makers made a great sale of the spoil of all such furry crea-
tures as had escaped wolves and eagles, for presents at the
•Saturnalia'; and at no time had the winter roses from Car-
thage seemed more lustrously yellow and red.

CHAPTER XIII. THE 'MISTRESS AND MOTHER*
OF PALACES

"^FTER that sharp, brief winter, the sun was already at
/^\ work, softening leaf and bud, as you might feel by a
Jl j\ faint sweetness in the air ; but he did his work be-
hind an evenly white sky, against which the abode of the
Caesars, its cypresses and bronze roofs, seemed like a picture
in beautiful but melancholy colour, as Marius climbed the
long flights of steps to be introduced to the emperor Aurelius.
Attired in the newest mode, his legs wound in dainty 'fasciae '
of white leather, with the heavy gold ring of the • ingenuus,'
and in his toga of ceremony, he still retained all his country
freshness of complexion. The eyes of the ' golden youth ' of
Rome were upon him as the chosen friend of Cornelius, and
the destined servant of the emperor ; bu<^ not jealously. In
spite of, perhaps partly because of, his habitual reserve of
manner, he had become 'the fashion,' even among those who
felt instinctively the irony which lay beneath that remark-
able self-possession, as of one taking all things with a differ-
ence from other people, perceptible in voice, in expression,
and even in his dress. It was, in truth, the air of one who,
entering vividly into life, and relishing to the full the deli-
cacies of its intercourse, yet feels all the while, from the point

RICCARDI PRESS : PAGE FROM WALTER PATER'S MARIUS THE EPICUREAN.
PRINTED IN 11 POINT FOUNT DESIGNED BY HERBERT P. HORNE

CAPITVLVMVLINTERROGATIODEEX-
ERCITIO ANTE COMMVNIONEM

VOX DISCIPVLI

CVM TV AM DIGNITATEM, DOMI.
ne, et meam uilitatem penso, ualde contremi^
SCO et in me ipso confundor. Si enim non ac"
cedo uitam fugio, et si indigne me ingessero
offensamincurro. Quid ergofaciam,Deusmeus,auxi-
liator meus in necessitatibus meis ? Tu doce me uiam
rectam^proponebreuealiquodexercitiumsacrae com^
munioni congruum, Vtile estenim scire qualiterscili-*
cet deuote ac reuerentertibi praepararedebeocor me-*
umad recipiendum salubritertuum sacramentum, seu
etiam celebrandum tam magnum et diuinum sacrifici^
um,

CAPITVLVM VIL DE DISCVSSIONE PRO^
PRIAE CONSCIENTIAE ET EMENDATE
ONISPROPOSITO
VOXDILECTI

SVPEROMNIACVMSVMMAHVMILI.
tate cordis et supplici reuerentia, cum plena fide
etpia intentione honoris Dei adhoc sacramentum
celebrandum tractandum et sumendum oportet
Dei sacerdotem accedere. Diligenter examina consci-
entiam tuam, et pro posse tuoueracontritioneethumili
confessione eammunda et clarifica^itautnilgraueha^
beas aut scias quod te remordeat et liberum accessum
impediat. Habeas displicentiam omnium peccatorum
tuorum ingenerali, et pro quotidianis excessibusmagis
in speciali doleas et gemas. Et si tempus patitur, Deo
in secreto cordis cunctasconfitere passionum tuarum
miserias. Ingemisce et dole quod ita carnalis adhuc es
et mundanus, tam immortificatus a passionibus, tam
plenus concupiscentiarum motibus, tam incustoditus

ABERDEEN UNIVERSITY PRESS: PAGE FROM THE DE IMITATIONS
CHRISTI" PRINTED IN THE " EWELL " TYPE DESIGNED BY DOUGLAS
COCKERELL FOR MESSRS. METHUEN AND CO,

1 /

A NOTE ON THE SPECIMENS OF LETTERING, ILLUML
NATION, PRINTING AND BOOKBINDING SHOWN AT
THE EXHIBITION OF ARTS ^ CRAFTS HELD AT THE
NEW GROSVENOR GALLERY, BOND ST., LONDON, W.

the Exhibition of Arts and Crafts
nothing gives such complete satisfac-
tion as the fine specimens of writing
done by Mr. Edward Johnston and by
Mr. Graily Hewitt, and other disciples
of the school of lettering which he has
established. The importance of these
exhibits is, of course, not to be gauged
by the actual beauty of the specimens
themselves, though in many cases that
is very great indeed. If we encourage
fine writing, it is not because we wish to hang on our walls written
and gilded texts from the Psalms, or to treasure in our cabinets finely
illuminated passages from Keats or from the Book of Job ; it is because
fine writing will give us fine lettering, wherever lettering is used,
whether in our printed books, or on the hoardings in the streets,
or in the advertisement columns of our newspapers, or on the monu'
ments and memorials in our graveyards and churches. It is the chief
glory of the school that the fine lettering which is taught there has
already begun to penetrate to all these places. It is also finding its
way into the typefounders' specimen books, and it is well for the
future of printing that it should do so. Just as in the first years of
printing the typefounders produced beautiful letter because the fine
writing of their day gave them their inspiration and their models,
so in this modern school of writing we have the best hope for the
inspiration and the models which will enable our typefounders to
give us fine letter in the future. The value of the work of the school
to the printer is shown at the Grosvenor Gallery in the versal and
initial letters written for the splendid quarto Virgil printed by Mr.
Hornby at the Ashendene Press, in the fine books from the Doves
Press, in the exhibit of typesetter designed by Miss Zompolides
and used at the Arden Press in printing their folio volume on "The
Gold and Silver of Windsor Castle," and in other works of merit.

PAGE PRINTED IN THE KENNERLEY " TYPE. 14 POINT. DESIGNED BY FREDERICK
W. GOUDY AND CAST BY H. W. CASLON AND CO. LTD. INITIAL LETTER BY
PAUL WOODROFFE, LENT BY THE ARDEN PRESS

A NOTE ON THE SPECIMENS OF LETTERING, ILLUM.

INATION, PRINTING AND BOOKBINDING SHOWN AT

THE EXHIBITION OF ARTS AND CRAFTS HELD AT

THE NEW GROSVENOR GALLERY, BOND STREET, W.

|T the Arts and Crafts Exhibition nothing
gives such complete satisfaction as the fine
examples of writing done by Mr. Edward
Johnston and by Mr. Graily Hewitt, and by
other disciples of the school of lettering of
which he is the founder. The importance of
these exhibits is, of course, not to be mea^
sured by the beauty of the specimens them^
selves, although in many cases that is very
great indeed. If we encourage fine writing, it
is not because we wish to hang on our walls
written and gilded texts from the Psalms or
to treasure in our cabinets finely illuminated passages from Keats or the
book of Job; it is because fine writing will give us fine lettering, wherever
letter is used, whether in our printed books, or on the hoardings in the
streets, or in the advertisement columns of our newspapers, or on the
monuments and memorials in our graveyards and churches. The glory
of the school is that the fine lettering which is taught there has already
begun to penetrate to all these places. It is also finding its way into type^
founders* specimen books, and it is well for the future of English printing
that it should do so. Just as in the first years of printing the typefounders
produced beautiful letter, because the fine writing of their day gave them
their inspiration and their models, so in this modern school of writing we
have the best hope for the inspiration and the models which will enable
our typefounders to give us fine letter in the future. The valueof the work
of the school to the printer is shown at the Exhibition in the versal and
initial letters written for the splendid quarto Virgil printed at the Ashen^
dene Press by Mr. Hornby, in the fine books from the Doves Press, in the
framed exhibit of type^letter designed by Miss Zompolides and used at
the Arden Press in printing their folio volume on "The Gold and Silver
of Windsor Castle.*' So far, however, the school has not produced a letter
suitable for printing the text of a book. We feel sure that, if training and
study be directed to that end, there may be designed under its influence
founts of type^letter as graceful in the lower-case as in the majuscules,
which shall fulfil all the requirements of modern printing. The true lines
of development would seem to be those of the Italian humanistic letter of
the fifteenth century, which gave the early printers their first roman letter,
d. Book illustration is not so well represented at the Exhibition as we
should have wished. Many of the exhibits show a lack of the sympathy
which should attach the drawing to the printed page which it is to accom"
pany. It is, perhaps, difficult to bring the ordinary three-colour book

PAGE PRINTED IN THE DOLPHIN OLD STYLE" TYPE, 12 POrNT
DESIGNED AND CAST BY P. M, SHANKS AND SONS

OAY^^eiAC BIBAOC AGYT6PA. lOA-
KH^ICDN ArOPA. THAGMAXOY AHO-
AHMIA

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TOV 6 yz AocKpv xIcon dYopH<yaTo Kori juistssitts*

OXFORD UNIVERSITY PRESS: PAGE FROM THE 'ODYSSEY," PRINTED
IN THE "OTTER" TYPE DESIGNED BY ROBERT W. PROCTOR

V>/ V Jtl/that long since hast to thy mighty powre

Perforce subdude my poore captived hart,

And, raging now therein with restlesse stowre,

Doest tyrannize in everie weaker part;

Faine would I seeke to ease my bitter smart

By any service I might do to thee.

Or ought that else might to thee pleasing be.

And now t' asswage the force of this new flame.

And make thee more propitious in my need,

I meane to sing the praises of thy name,

And thy victorious conquests to areed,

By which thou madest many harts to bleed

Of mighty Victors, with wyde wounds embrewed.

And by thy cruell darts to thee subdewed.

Onely I feare my wits enfeebled late

Through the sharpe sorrowes which thou hast me bred,

Should faint, and words should faile me to relate

The wondrous triumphs of my great god-hed :

But, if thou wouldst vouchsafe to overspred

Me with the shadow of thy gentle wing,

I should enabled be thy actes to sing.

Come, then, O come, thou mightie God of Love,
Out of thy silver bowres and secret blisse.
Where thou doest sit in Venus lap above,
Bathing thy wings in her ambrosiall kisse.
That sweeter farre then any Nectar is;
Come softly, and my feeble breast inspire
With gentle fiirie, kindled of thy fire.

LONDON COUNTY COUNCIL CENTRAL SCHOOL OF ARTS AND CRAFTS: PAGE FROM
EDMUND SPENSER'S " FOUR HYMNS ON EARTHLY AND HEAVENLY LOVE AND BEAUTY"
PRINTED IN CASLON TYPE. WOODCUT INITIAL BY W. F. NORTHEND, STUDENT

lI^

QUE LI QUENS BOUGARS DE VALENCE FAISOIT

guere au conte Garin de Biaucaire si grande et si mervel-
leuse et si mortel, qu'il ne fust uns seux jors ajornes qu'il ne
fust as portes et as murs et as bares de le vile a .c. cevaliers
et a .X. mile sergens a pie et a ceval; si li argoit sa terre et
gastoit son pais et ocioit ses homes, f^ Li quens Garins de
Biaucaire estoit vix et frales si avoit son tans trespasse. II
n'avoit nul oir, ne fil ne fille, fors un seul vallet. Gil estoit
tex con je vos dirai. Aucasins avoit a non li damoisiax ; biax
estoit et gens et grans et bien taillies de ganbes et de pies et
de cors et de bras. Il avoit les caviax blons et menus recer-
celes et les ex vairs et rians et le face clere et traitice et le
nes haut et bien assis, et si estoit entecies de bones teces,
qu'en lui n'en avoit nule mauvaise, se bone non. Mais si
estoit soupris d'amor qui tout vaint, qu'il ne voloit estre
cevalers ne les armes prendre n'aler au tornoi ne fare point
de quanque il deust. Ses pere et se mere li disoient: ^ Fix,
car pren tes armes si monte el ceval si defF^nt te terre et
aie tes homes. S'il te voient entr'ex, si defenderont il mix
lor cors et le avoirs et te tere et le mine. ^ Pere, fait Aucas-
sins, qu'en paries vos ore ? Ja dix ne me doinst riens que je
li demant, quant ere cevaliers ne monte a ceval, ne quevoise
a estor ne a bataille, la u je fiere cevalier ni autres mi, se vos
ne me dones Nicholete, me douce amie que je tant aim.
^Fix, fait li peres, ce ne poroit estre. Nicolete laise ester ;
que ce est une caitive qui fu amenee d'estrange terre, si

LONDON COUNTY COUNCIL CENTRAL SCHOOL OF ARTS AND CRAFTS: PAGE FROM " AUCASSIN
AND NICOLETTE, " IN OLD FRENCH, PRINTED IN CASLON TYPE, WITH DECORATIVE HEADING

r :

•THEFIRSTBOOK

OFTHE FAERIE-
qUEENE- ?^ ?jr ijf

•CO^AYNINOTHELEOEWI^
or THE KNIGHT OF THE RED:
CR0(5*»; OROFHOLINE55E- #

BY EDMUND ,5PEH&ER*

EDITEDBY THOnA&;JWl5E *
•ANDPORTRXYEDlNASERlEd
OF DE610N3 m WALTERCR3VHE

LOWDON: OEORGE- ALLEN-
RUBKIN- HOU££,' 156 CHAR'
IMOCRQ&&ROAD- 1S94'* *

i'j;>>—

TITLE-PAOE BY WALTER CRANE FOR THE FIRST
BOOK OF "THE FAERIE QUEENE " (SIZE OF
ORIOINAL WOOO-ENORAVINO 10X7^ INCHES)

(Reproduced by permission of Messrs-
Ceorge A lien and Co. Ltd. )

{Reproducedby permission of Messrs.
Cetr^e Allen and Co. Ltd.)

FULL-PAGE ILLUSTRATION BY WALTER CRANE FOR
THE FIRST BOOK OF "THE FAERIE QUEENE." (SIZE
OF ORIGINAL WOOD-ENQRAVINQ Sjxyi INCHES)

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FRONTISPIECE TO AYMER VALLANCE'S "OLD COLLEGES OF OXFORD"
DESIGNED DY HAROLD NELSON FROM SUGGESTIONS BY AYMER VALLANCE
PUBLISHED BY MESSRS. B. T. BATSFORD LTD.

^"^

'ANATOLE FRANCE

BEL

TnC FRINCE55 OF TtlE DWARFS

RETOLD IN CNGLISM BV
PETLR WRIGHT &^ILLU5TRA-
TED By CHARLE5 R0BIN50N

I,ONDON . J.M.Dcnr<^ Sons, Lid .Bedford &1 W.C
NEWyoRKX.PDurton&Co

1912

Title-page desiqneo by charles robinson
for messrs. j. m. dent and sons ltd.

THE BIRTH LIFE AND ACTS OF KING ARTHUR OF HIS

NOBLE KNIGHTS OF THE ROUND TABLE THEIR

MARVELLOUS ENQUESTS AND ADVENTURES

THE ACHIEVING OF THE SAN GREAL

AND IN THE END LE MORTE DAR-

THUR WITH THE DOLOUROUS

DEATH AND DEPARTING

OUT OF THIS WORLD

OF THEM ALL.

THE TEXT AS WRIT-
TEN BY SIR THOMAS MALORY
AND IMPRINTED BY WILLIAM CAXTON
AT WESTMINSTER THE YEAR MCCCCLXXXV
AND NOW SPELLED IN MODERN STYLE. WITH AN
INTRODUCTION BY PROFESSOR RHYS AND EMBELLISHED
WITH MANY ORIGINAL DESIGNS BY AUBREY BEARDSLEY. MDCCCCIX.

TITLE-PAGE DESIGNED BY AUBREY BEARDSLEY
FOR MESSRS. J. M. DENT AND SONS LTD.

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DESIGN FOR A TITLE-PAGE. BY THOMAS DERRICK
PUBLISHED BY MESSRS, SIEGLE, HILL AND CO.

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THe LOVeR T61.LS OF THG RDS€

IN HIS He ART

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i>rccrL knoLL xpxrt^

like A. CA^Lct c?p<>oLcL

cLrcaLro^ op uour uruu>c tfut^bloe6<MrM

• tne cLccp* of" irui ruArir.

CUALA PRESS ; PAGE DESIGNED BY CHARLES BRAITHWAITE

FINE BOOKBINDING IN ENGLAND.
BY DOUGLAS COCKERELL

FINE or " extra " binding as it is called in the trade implies that
the craftsman has done his best with the best materials. It may-
be plain or decorated, but whatever work there is should be
the best of which the craftsman is capable. Printed books are
largely machine-made productions, and it would seem reason-
able that machine-made books should have machine-made covers, and it
is in such covers or "cases" that most of our books are issued. There is
a general feeling that the cost of the binding should bear some relation to
the cost of the book ; but since books are turned out by the thousand
from the printing press, and fine bindings can only be made singly and
laboriously by hand, it is inevitable that in most cases such a binding
costs much more than the book it covers. This has probably been the
case since the invention of printing cheapened books, and yet there
have always been people who valued certain books highly enough to
have them well bound and decorated. For a true book-lover does not
value a book at the price it costs, and he may wish to have the words ot
a favourite author enshrined in a precious cover. Some books by their
nature and use call for lavish treatment. Books used for important cere-
monies, such as altar books or lectern Bibles, can quite well be covered
with ornament, provided this ornament is good. They will be but a spot
of gorgeousness in a great church or cathedral, and should be judged in
relation to their surroundings and not as isolated articles. M There is
a fashion now to value decoration in inverse ratio to its quantity, and
demand that it should be concentrated on spots, leaving the greater part
of the surface of articles bare. This is quite a reasonable way to treat a
binding, but it is not the only way. A satisfactory binding can be made
with little or no ornament, and there is then little fear of a disastrous
failure. To cover a book all over with gold-tooled decoration is a more
difficult thing to do satisfactorily, but it can be done, and, if well done,
is well worth doing. JS At the present time there are many binders
working in England who are capable of turning out work of the highest
class, and fortunately there are book-lovers here and in America with
the taste and means to commission such work. Probably, if a man were
bold enough to spend five or ten thousand pounds on binding the finest
books that are being produced at the present time, he would find, if the
money were wisely spent, that he had got a library that would be cele-
brated all over the world. There is an interesting revival in the use of
arms-blocks on bindings, and when certain modern libraries come to be
dispersed their owners will be remembered by their books in the same
way as are the original owners of the many armorial bindings that have

come down to us from the past. Jff There are some qualities that are
common to all well-bound books. Of course abnormal books have to be
treated specially, but it may generally be said that every leaf of a book
should open right to the back. This means that all single leaves and
plates should be attached by guards, and that no overcasting or pasting-
in should be allowed, and it also means that the back should be truly
flexible. The sections should be sewn to flexible cords or tapes, the ends
of these should be firmly attached to the boards, and the back should be
covered with some flexible material, such as leather, which, while pro-
tecting the sewing-thread or cord, shall itself add to the strength of the
binding. A fine binding will have many other features added by way of
refinement or elaboration, but unless it has these qualities it is likely to
be an unsatisfactory piece of work. A well-bound book should open
well and stay open, and shut well and stay shut. The binder can bind
any book so that it will not open, but there are some books that he
cannot bindsothat they will open and shut "sweetly." Jff Bookbinding is
only one part of the larger craft of book production, and to obtain a
perfect book it is necessary that the workers in each branch of the craft
should have a common ideal of what a book should be, and that each
should do his part in such a way that this ideal may be attained. Un-
fortunately it too often happens that the printers are quite content it
their printing looks perfect as it comes from the press, with the result
— through errors in the choice of paper or the number of leaves to a
section — that the bookbinder has unnecessary and sometimes unsur-
mountable obstacles put in his way. A book that will not open freely
and that gapes like a dead oyster when it ought to be shut is not pleasant
to use, and when these faults are noticed the binder generally gets the
blame. Sometimes he deserves the blame, for the fault may be his, but
more often than not the fault lies with the paper. To open a book a
certain number of leaves of paper must be bent, and if the paper is so
stiff that a single leaf will not fall over by its own weight, the book
cannot be made to open quite satisfactorily if bound in the ordinary way.
By swinging each leaf on a guard it is possible to bind a pack of playing-
cards into something like a book which will open and shut freely, but
that this can be done is no excuse for the production of books which
necessitate this drastic treatment before they can be bound satisfactorily.
M William Morris, when he founded the Kelmscott Press, did more
than revive fine book-printing ; he established a tradition for books
that were eminently bindable, and the presses that followed his lead
kept up the tradition ; so that we have in England a large number of
beautifully printed books that are worthy of the best binding, and that
impose no unnecessary difficulties on the binder. Jff Mr. Cobden-Sander-
son did much to revive the use of the tight or flexible back. In this style
70

the leather is attached directly to the back of the sections, and so helps
to hold them firmly together. All leather-bound books had tight backs
until about a hundred years ago, when the hollow back came into
general use. A tight back should throw up when the book is opened ;
that is to say the back, convex when the book is shut, should become
concave on the book being opened. This causes a certain amount of
creasing in the leather, and this creasing is not good for gold tooling ;
but with a well-bound book the damage is not serious, and important
constructional features must not be sacrificed for the sake of the decora-
tion. Jff The hollow back does not crease the leather, and so is preferred
by finishers, and besides it is easier to cover a hollow back neatly than
a tight one ; but the strain of opening and shutting, which should be
distributed evenly across the back, is in the hollow back thrown on the
joints, with the result that the leather is apt to break at these places
unless specially strengthened, as is the case with well-bound account
books. Jff While " flexible " backs that are truly flexible are undoubtedly
the best, some binders line up their backs so stiffly under the leather as
to allow little or no movement when the book is opened. This avoids
the creasing of the leather and leaves the decoration uninjured, but the
book will not open freely, and there is no virtue in such a tight back.
Leather is chosen for binding becauseof its toughness and flexibility, yet
binders deliberately sacrifice this last quality in order to obtain extreme
neatness or to hide faults in the forwarding. JS It is the fashion in some
quarters to admire as the perfection of craftsmanship an exact and hard
square edge to the boards of a book. This can only be got by paring the
leather down till it is as thin as paper and has consequently very little
strength. A softer, rounder edge is natural to a leather-covered article,
and it is unreasonable to expect the qualities of a newly planed board
in a material so wholly different in character. The edges of the leather-
covered board should have a distinctly flat face, and clumsiness will be
avoided by any good craftsman. It is only the extreme sharpness, so
much admired by unknowing people, that is objectionable. M In the
treatment of the edges of the leaves fashion has gone to two extremes :
some book-lovers demand that the edges should be entirely uncut, while
others require them to look like a solid piece of metal. The rough
edges, or " deckle," on handmade paper is a necessary defect due to the
way the paper is made. These rough edges were always trimmed off by
the early binders because they were unsightly, difficult to turn over, and
harboured dust. Some of the shorter leaves would usually be left un-
trimmed. Such short leaves are known in the trade as " proof," i.e.
proof that the book has not been unduly cut down. To gild a book-edge
absolutely solid the binder must cut down to the shortest leaves and so
often has to reduce the size of the book unreasonably ; but an accept-

able compromise between entirely uncut edges and solid gilding can be
arrived at it the sections of a book to be finely bound are trimmed singly
and gilt " in the rough " before sewing. This enriches the edges but
does not disguise their nature nornecessitate their being unduly cropped.
Mln recent times there has been much good work done in England in
the investigation of bookbinding materials. The Royal Society of Arts
Committee on "Leather for Bookbinding" has established standards
of leather that have made it possible for binders to procure skins that are
uninjured in the process of manufacture, and bookbindingleather of the
very highest class is now being produced in England. The leather manu-
facturers are able to dye leather any reasonable shade without the use of
sulphuric acid, and it is only some of the lighter fancy colours that are
unprocurable in "acid free" leather. That these "fancy " shades are
unprocurable in uninjured leather is a distinct gain, as they mostly fade,
and books bound in such leather seldom look as if they were intended
to be used. JffThere arevariousways by which leather-bound books may
be decorated, but tooling, either in gold or blind, is by far the com-
monest, and it is tooled bindings that we are considering here. " Blind "
tooling is the impression of hot tools on the leather. The most satisfac-
tory tools for blind work are those cut die-sunk like a seal. These, by
depressing the ground, leave the ornament in relief. Tools for gold work
are cut so that the ornament with the gold is depressed below the surface
of the leather. These tools may be used without gold, but blind tooling
produced in this way has little of the character associated with this
work when it was at its best, i.e. up to the end of the fifteenth century.
Gold-tooling came to Europe from the East, and preserved a tradition
of Eastern design for a very long period. The English gold-tooled
bindings of the seventeenth and eighteenth centuries are often strangely
Eastern in the style of the decoration. J^ The ornamentation of fine bind-
ings reached almost its lowest ebb in England about the middle of last
century. Of technical skill there was never any lack, but decoration had
lost vitality, and the ornamental bindings of this time are for the most
part copies or parodies of the work of earlier binders. William Morris
designed a few very beautiful gold-tooled bindings which were covered
all over with the impressions of tools, each one of which represented a
complete plant. His friend, Mr. Cobden-Sanderson, who gave up the
practice of the law to learn the binder's craft, produced books that are
unsurpassed in the delicate beauty of their decoration. Before his time
there had been few attempts to combine tools to form organic patterns.
Mr. Cobden-Sanderson's tools were very elementary in character, each
flower, leaf or bud being the impression of a separate tool. These im-
pressions were combined in such a way as to give a sense of growth,
and yet in no way overlapped the traditional limitations and conventions
72

of the craft. Mr. Cobden-Sanderson got his results by sheer genius in
the right use of simple elements. He used inlays very sparingly, and his
finest bindings depend entirely on the effect of gold on leather. The
style of design which he founded has spread throughout the trade,
mainly through the teaching at the various technical schools, and it is
novv^ comparatively rare to find an elaborate binding of recent date with-
out some attempt having been made to connect the tools so that they to-
gether form an organic whole. J^The use of composite tools (that is,
tools which form a whole design in themselves and do not bear any
definite relationship to one another) is now restricted to cheap bindings.
The corners and centres on the backs of school prizes are familiar, if
degraded, examples of the use of such tools. Together with the Cobden-
Sanderson style of decoration there has been a marked revival of the
use of interlacement in gold-tooled designs. Interlaced gold lines, if not
so intricate as to be bewildering, may be very beautiful, but in this, as
in most other crafts, the highly-skilled workman loves to attempt the
almost impossible, and some of the recent interlaced patterns fail on
account of their over-elaboration and consequent restlessness, jff Mr.
Charles Ricketts designed some very notable gold-tooled bindings for
the Vale Press. These bindings have hardly received the attention
they deserve, and the style has not spread to any extent, possibly because
Mr. Ricketts' refinement and delicacy in the use of fine lines are not
easy to acquire. These bindings have an architectural quality that places
them in a class by themselves. Mr. Cobden-Sanderson and Mr.
Ricketts, in their entirely different styles, have shown that gold-tooling
may be extremely beautiful as decoration without overstepping the
traditional limits of the craft, and in the case of the most successful
bindings now being produced these traditional limits have been recog-
nised. Gold-tooling is by its nature a limited means of expression,
though exactly where the limits lie must be a matter of feeling and
taste rather than of knowledge. Certainly in some of the elaborate bind-
ings now being produced the limits of the craft have been passed, and
while serving to show amazing dexterity on the part of the finisher,
these bindings are less successful artistically than many that are less ambi-
tious in technique. JS" There is no clearly marked school of blind-tooling
at present, though here and there the method has been used with success.
Mr. William Morris designed a notable binding in white pigskin for the
Kelmscott " Chaucer." Many copies were so bound at the Doves Bind-
ery,but most of the attempts that have been made to carry out work in the
same style have been comparatively unsuccessful. Jff There have been
a good many efforts made to revive modelled leather-work as a means of
decorating books, but although this method is capable of producing
very fine results, most of the binding in modelled leather shown in recent

exhibitions cannot be said to be successful. Any work that has to be
done on the leather before the book is bound is almost doomed to failure,
because leather which is modelled before binding cannot be handled by
the binder with the freedom that is necessary if he is to make a work-
manlike job of the covering. It is, however, possible to put quite suffi-
cient relief in modelled leather after a book is bound, if the leather be
reasonably thick ; indeed high relief for most books is objectionable. JS
Many of the old bindings had fine metal mounts and clasps. If clasps
are used on modern books, as a rule they should be flush with the sides, so
asnot toscratch theirneighbourswhentaken in andoutof shelves. Raised
clasps and bosses are only suitable for books that are expected to stand
permanently on a lectern. Jff In criticising decorated bindings there is
a danger of falling into the common error of generalising from isolated
instances. You cannot put too much ornament on a thing as small as a
bookcover if the ornament is good enough. A book well bound in beau-
tiful leather may be perfectly satisfactory and beautiful by virtue of good
workmanship, fine material and colour. A binding covered with fine
gold-tooling may be just as restful and far more beautiful, but while
there is comparatively little scope for failure in the plain binding, there
are appalling pitfalls if the cover be lavishly decorated. There are, of
course, all sorts of degrees of decoration between an absolutely plain
binding and one covered entirely with gold, but there are some qualities
common to most successful tooled ornament. M There are few bindings
that are quite successful unlesstheornament is arrangedon a symmetrical
plan. Any attempt to portray landscape, human figures or naturalistic
flowers is almost doomed to failure. Gold-tooling is not a suitable medium
for rendering such subjects. M Lettering should be well designed and free
from eccentricities. The problem of letteringa long title across a narrow
back may necessitate ungainly breaking of words, but where this is done
it should only be done from obvious necessity, and the reasonable
necessity for this fault shouldbe apparent. To letter books in type so small
as to be quite illegible, lettering that looks from a short distance like a
gold line, is more unreasonable than almost any breaking of words that
allows the use of letters of a larger size. M Fine binding is an expen-
sive luxury but not an unreasonable one compared with many others.
We have now in England a school of really fine binding, and the
most reasonable and unobjectionable form that luxury can take is the
use of beautiful things in everyday life. If a book is well bound and
well decorated it is fit to use, and in choosing a book to be expensively
bound it would be better to choose the book most often used than one
which would be put away unopened. Most fine bindings would be
greatly improved by use, and the reasonable using of them would give
immense pleasure, a pleasure that would justify the binder's care and
trouble and the purchaser's outlay. The use of a beautiful thing gives a
far higher form of pleasure than does the mere sense of ownership.

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BOOKBINDING IN MAUVE MOROCCO, WITH INLAY AND GOLD TOOLING. BY HON. NORAH HEWITT

BOOKBINDING IN SAGE GREEN MOROCCO, WITH INLAY AND GOLD TOOLING. BY HON. NORAH HEWITT

BOOKBINDING IN POWDER BLUE MOROCCO, WITH GOLD TOOLING. BY HON. NORAH HEWITT

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BOOKBINDING IN GREEN LEVANT MOROCCO. WITH GOLD TOOLING. DESIGNEDSBY T. TURBAYNE, EXECUTED BY P.tWARD3

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BOOKBINDING IN PURPLE LEVANT MOROCCO, WITH INLAY AND GOLD TOOLING. DESIGNED BY E.

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BOOKDINDING IN CRUSHED DARK BLUE LEVANT MOROCCO

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INITIAL LETTERS DESIGNED BY R. JAMES WILLIAMS. FOR THE VINCENT PRESS

123

"COUTE QUIIL COUTE ' — DECORATIVE
DRAWING BY R JAMES WILLIAMS

124

GERMANY

THE ART OF THE BOOK IN GER-
MANY. BY L. DEUBNER

ETTERPRESS printing, even in the edition de luxe, is not
an art, and neither the compositor nor the printer is an
artist." This is what was written in the year 1887 by
Ludwig Nieper, at that time Director of what is now the
Royal Academy of the Graphic Arts and Book Industry at
Leipzig, a city which in the present year has in its International Exhi-
bition, embracing every conceivable aspect of the industry as well as
the arts most closely bound up with it, furnished such a convincing and
impressive demonstration of the culture uniting the nations as perhaps
has never been offered before. The conviction expressed in the passage
just quoted, repudiating the existence of any influence of art on indus-
trial labour, belongs to a period bereft of any real feeling for art and con-
tent with the imitation and repetition of historic styles while eschewing
any contact with the practical requirements of the industry. Nowadays
we know how beneficial and fruitful for both has been the reciprocal
influence of art and industry in every sphere of activity, and that only
by this means have we been able to proceed from mere external embel-
lishment to artistic form, from book adornment to a true art of the
book. Thus in the space of barely twenty-five years our views of what
art really is and what are its functions have radically changed, and it
must be left to those who come after us to estimate more correctly than
we are able to at the present day, the immense labour which has been
accomplished in the space of a generation. The incipient stages in
the growth of the new movement in Germany date back some twenty
years. At that time we looked with envy at the publications which
issued from the private presses of England, and could boast of nothing
that could compare with the far-famed " Faust " of the Doves Press ;
and if to-day we are at length able to stand on our own feet, it would
yet be false to assert that the modern art of book production in Germany
has developed from within, and to disavow the valuable stimulus and
knowledge we owe especially to the English books of that period. And
clearly as we perceived that the book in its entirety, with its harmonious
co-ordination of type, decoration, composition, paper and binding,
should form a work of art, yet only after many mistakes and deviations
have we arrived at the goal. Thus nowadays no one would seriously
seek to defend such a production as the official catalogue of the German
section at the Paris Exhibition of 1900 ; and so, too, the so-called
"Eckmann" type, which at one time was taken up with unexampled
enthusiasm — a type in which the designer had contrived to adapt the
ancient forms of the "Antiqua" type to the sinuous lines of modern

127

ornament — is now almost completely forgotten. These and many other
things which at that time were acclaimed as creative achievements,
belong to that class of errors which are really nothing but exaggerated
truths. But in the absence of such excesses and that exuberance of feel-
ing which was so violently manifested, it would have been quite impos-
sible to accomplish in so short a time what as a matter of fact was accom-
plished, and in spite of shortcomings has even now lost none of its im-
portance in the history of the development of a new art of the book. M
The first event of significance which followed the renewed recognition
of the decorative value of the printed letter was the issue of some new
types designed by Otto Eckmann and Peter Behrens respectively, the
former slender, delicate, and round, the latter bold, distinguished, and
angular, but both alike quite free, natural, andeasily legible. It was these
founts that really inaugurated the new development ; and the foundry of
the Gebr. Klingspor which issued them, placed itself by so doing at the
head of all those enterprising type-foundries which have since en-
riched our printing press with a wealth of new and valuable founts. It
had come to be recognised that lettering and ornament were closely cor-
related ; that the ornamentation of printed matter could not be regarded as
an end in itself, but must be adapted to the character of the lettering in
order that the rectangular space of a page should be so filled as to
achieve a good general effect and satisfy the sensitive eye. Nothing
remained, therefore, but to entrust the designing of new types to artists
who had already accomplished good and original work as book deco-
rators ; and as none of the numerous German type-foundries desired
or indeed could afford to be behindhand in a movement of this kind,
it resulted that in the course of a few years the printing presses of the
country were inundated with a flood of new "artist" types, of which,
nevertheless, only relatively few have been able to survive till now. To
design a new type or to re-mould the old forms of " Antiqua " (Roman)
or "Fraktur" (German Gothic), so that the new forms should not only
have a good black-and-white effect but that the eye should be able to
grasp with ease the sequence of" word-pictures " as well as each indivi-
dual letter and to read the lines quickly and comfortably, is a task
of extraordinary difficulty which many who have attempted to grapple
with have under-estimated. To obtain an idea of the multitude of
difficulties that have to be overcome, one must bear in mind that the
fundamental forms of the individual letters are fixed, and that only
small changes are possible in the general shape, in the proportions of
the component parts, in the alternation of the upright, horizontal, and
oblique lines, in the curvatureof the so-called "versal" or capital letters,
in the serifs, and in the sweep of preliminary or terminal flourishes;
that the printed letter, unlike manuscript, is bound up with fixed laws,
128

and that in order to justify its claim to consideration it should, while
expressing the artistic individuality of its designer, not be too original
and personal if it is to be employed for general use. Further, it should
conform to the spirit and ideas of the age, and yet again it ought not
to be wholly conditioned by contemporary considerations if it is to
survive to a later age, as have many fine founts which the seventeenth
and eighteenth centuries have bequeathed to us. M As already said, only
a few among our modern German designers of printed types have mas-
tered all these difficulties, and among these few the names of Behrens,
Tiemann, Koch, Kleukens, Weiss, and Wieynk are pre-eminent. In the
course of some thirteen years that born architect, Peter Behrens, who
began as a painter of easel pictures and a decorator of books, and now
builds palaces, factory buildings, and gigantic business-houses, has him-
self designed four founts in which the whole artistic evolution of this
strong-willed nature is reflected, and which yet seem so entirely the pro-
duct of a natural growth that one is quite unconscious of the years of
labour spent on their improvement and perfection in the interval be-
tween the preparation of the designsand the actual casting of the founts.
As compared with the architectonic character of the austere, angular
forms ofthe first Behrens type, the italic or "Kursiv"fount(p. 141) which
made its appearance six years later looks more decorative with the
gentle sweep and uniform flow of its lines, and in the most successful
of the Roman founts the full vigour and monumentality of his later
period of activity is clearly expressed ; while the most recent of all, the
"Mediaeval" (p. 140), which was only issued a few weeks ago, is again
more ornamental with its uniformly fine lines, and admirably answers to
itsdcsignation as a type embodying the characteristics ofthe Italian Re-
naissance script. M Another "Mediasval" type which even excels that
just mentioned in clearness and beauty of form has been designed
by Walter Tiemann (pp. 146 and 147), who holds the position of in-
structor at the Royal Academy of Graphic Arts at Leipzig, and devotes
himself almost exclusively to the improvement of the art of lettering
and book production. Like all the other types designed by this artist,
it has less of a personal character about it, and reason more than senti-
ment has been the guiding motive in the design ; but its cool, distin-
guished reticence gives it a quite exceptional merit. It is, moreover,
completely independent of itsclassical prototypes and their Romanesque
imitations ; very effective in all its gradations, the use of it is not re-
stricted to the limited editions of our private presses, and in fact it is
now one ofthe most popular founts we have. JS The fine Roman types
byF.W. Kleukens (pp. 1 5 1, 1 53 and 156) rank among the most gratifying
achievements of our new school. They are free from eccentricity of any
kind, there is a seductive charm in their unassuming yet distinguished

129

forms, and even the ornamental slender kinds are agreeably clear. In
spite of the thinness of their lines the letters belonging to this slender
fount combine to make easily legible lines. The Kleukens types are
practical as well as attractive, and in conjunction vs^ith specially de-
signed borders, initials and decorative devices of all kinds, they are
well adapted for the most diverse uses. M Of a far more personal char-
acter, but at the same time of a more restricted range of use, are the
graceful tvpes by Heinrich Wieynk (pp. 149 and i 50). It is the spirit
of the Rococo that dv^ells therein — that epoch to which, with its playful
charm and light-hearted grace, we owe so many masterpieces of French
typography. Even the superfluous loops and flourishes which were
characteristic of that period are encountered again, with many bizarre
peculiarities, in the "Kursiv" and "Trianon" ofWieynk,and yet there
is a remarkable fluidity and vitality in each stroke ; the general eff^ect is
highly artistic, and, as the examples now reproduced show, the founts
are admirably adapted to numerous purposes. M Many attempts have
been made to modernise the old " Schwabacher " type, which dates from
the middle of the fifteenth century, and differs from German Gothic, or
"Fraktur," by being morecompact. Themostsuccessful in this direction
so far has been Rudolf Koch, whose " German Script," in the three dif-
ferent forms here shown (pp. 142 to 145), has once more revealed the
rich beauty and massive power inherent in the various kinds of German
type. In these boldly designed letters is expressed a manly earnestness
and also a simple grandeur which, in the sweeping, powerful forms of
the initials, becomes truly monumental. They are, moreover, carefully
thought out in all their details, and notwithstanding the strength of the
lines, even in the smallest sizes, they are very expressive in their beauty.
Jff Heinz Konig, too, has had good fortune with his " Schwabacher "
type (p. 152). This is remarkably clear, and in its amalgamation of
Roman forms with the characteristics of German founts it has proved
both sound and serviceable, and it is one, moreover, which offers no diffi-
culty whatever to the foreigner. The curls and loops which the cham-
pions of" Antiqua," or Roman, find fault with in the German styles of
type are absent ; it is a Gothic purged of all unnecessary details and is at
oncedignified and decorative. M Amongthenew " Fraktur " or German
Gothic types mention should first of all be made of that known as
" Weiss-Fraktur," which, designed by E. R. Weiss, has been perfected
by him after many years of untiring collaboration with the Type Foun-
dry of Bauer and Co. It has remained a purely German type, but is
without the flourishes bequeathed by the old German Gothic. The
light and open appearance of matter composed with it imparts to it a
clarity which is distinctly agreeable, so that one can follow it with ease
and comfort while deriving quiet pleasure from the simplicity and
130

definiteness of a type which satisfies in equal degree the requirements of
use and aesthetic susceptibiHty. TheTempel Verlag, in common with a
number of other important German pubHshing houses, has adopted the
" Weiss-Fraktur" for its model editions of German classics. J^ When
new desires call for satisfaction and new forms begin to develop, it is
always those spheres of activity which offer easy and pleasant possi-
bilities of accomplishment that are selected for experimenting. Thus
some fifteen years ago the designing of bookbindings was a favourite
occupation of the artists who interested themselves in the reform of in-
dustrial art, and many who have now attained to clear and definite ideas
do not want to be reminded of the sort of work that was done in those
days. Under the influence of Van de Velde's precept that every line is
a force, the wrappers and bindings of books were among the things that
were covered with a nervous labyrinth of lines which was expressive
only of an attitude of mind radically at variance with all that had gone
before. But many who at first occupied themselves with this kind of
work in a more or less dilettante spirit, have by quiet, serious labour and
steady development mastered its problems and have come to devote
themselves almost exclusively to the graphic arts and the industry of
book production, sothat we nowpossess an important organisation of the
workers in this field — the" Verein deutscher Buchgewerbekiinstler" —
whose collective exhibition at the International Exhibition now being
held at Leipzig is one of the most interesting sections of this great dis-
play. Of the artists whose work is represented among the accompanying
illustrations, Cissarz, Ehmcke, Kleukens, Koster, Koch, Renner, Steiner-
Prag, Tiemann, Weiss and Wieynk belong to this group. Jffjohann
Vincenz Cissarz had in 1900 already advanced to such prominence in
this branch of work that the artistic arrangement of the German Typo-
graphical Section at the Paris Universal Exhibition was entrusted to
him. A long way behind as this catalogue now is, it was nevertheless
at that date an exemplary achievement as regards type, ornament, print-
ing, and binding ; and to the large number of commissions it brought
the artist may be due the fact that thereafter his chief attention was be-
stowedon the art of the book, in spite of his penchant and decided genius
for painting of a decorative and even monumental character and his par-
ticular partiality for the etching-needle. From DresdenCissarz migrated,
first to Darmstadt and then to Stuttgart, where as teacher at the Royal
School of Applied Art he found a welcome opportunity of communi-
cating to others his own sound principles in regard to the internal and
external arrangement of books, and already he is able to look back upon
a teaching career which has been very successful. And here, too, many
grateful tasks have fallen to him, not only in connection with special
events, such as jubilees, presentation addresses, and such things, but

131

more especially in the course of work undertaken for the publishing
houses of Stuttgart. Though the luxurious binding executed by hand
in costly materials may be superior in an artistic sense, yet from the
economic and cultural point ot view the tastefully designed bindings
produced in large quantities by the publishing houses are of greater
importance. A series of these publishers' cases of diverse design is
illustrated on pages i68 and 172, and it shows how successfully the
designer has utilised the space to display his boldly lettered title or to
cover the whole field with becoming ornament. M Hugo Steiner-Prag,
who first became known through his poetic drawings for children's
fairy tales and books of verses, has also for some years past taught at the
Royal Academy of Graphic Arts at Leipzig. His chief successes have
been won as an illustrator, but from the bindings now reproduced (pp.
166 and 167) it will be seen that he has a marked talent for the em-
bellishment of the book. By means of simple lines and decorative orna-
ment, usually confined to a well-proportioned centre field, he achieves
really charming effects. Jff Karl Roster was at one time a pupil of Peter
Behrens, and in order to be able to take advantage of all the possibilities
open to the bookbinder he has not shrunk from learning the craft in the
regular way. Thus in the course of his work he has not been wholly con-
cerned with the external embellishment of the book, which he always
endeavours to harmonise with its contents, but has also kept in view the
practical purpose of the binding as a protective covering for the book.
His great skill in achieving delightful effects with the simplest means
is amply demonstrated by the numerous bindings he has designed for
publishers. Thus in the bindings here illustrated, " Heimkehr " and
*' Buch Joram " (p. 169), three lines of lettering suffice to animate and
decorate the entire surface ; but he is quite capable of employing much
richer decorative devices with discretion and good taste. From the way
in which he has placed a simple cross of violet leather in the richly orna-
mented middle field of his red missal binding (p. 1 63), to show to the
greatest advantage the colour of the amethysts set in the silver mounts, it
may be inferred that he is capable of producing new and peculiar arrange-
ments of form and colour without breaking with the best traditions.
In his second missal binding the form of the cross which dominates the
entire space is distributed over twelve circular panels or fields, of which
the middlemost is worked with a white leather inlay and gold-tooling.
The other circles are lined with violet leather, and with the four ame-
thysts of the corner rosettes, the sea-green morocco, and the rich gilding,
produce a splendid effect of colour. Jff Among the professional crafts-
men who yielded to the new ideas of book production Paul Kersten is
perhaps the best known, as he is without doubt the most successful.
With an extensive practical experience, which has mastered all the j

132

technical possibilities, he combines artistic susceptibility and a literary
aptitude which has enabled him to uphold the objects he has at heart
in thoughtfully written essays and books. As head of the Technical
School for Bookbinders in Berlin he is in a position to exercise an
educative influence in the best sense. The bindings illustrated on
pages 164 and 165 enable one to judge of his technical versatility and
his methods of decoration, which are not restricted to a particular
scheme. They are without exception leather bindings in which the
title is placed independently on the back or within a panel left for it,
the ornamentation of the cover being therefore uninfluenced by it. In
bindings of a richer character he is very fond of utilising a diversity of
colours for the sake of the animating effect. Thus in his dark-blue
morocco binding, whose centre panel is occupied by five hexagons
within circles, the flowers displayed therein are of red, green, and
violet leather ; while in the chamois binding of Baudelaire's "Fleurs du
Mai," for the ornamentation of which, in gold and blind stamping, no
fewer than 1 8,000 impressions were required, leather overlays in seven
different colours were used. But even with such an abundance of
decoration one is not conscious of any excess, but only perhaps that
agreeable sense of assurance which the practised hand communicates.
Three colours, black, red and blue, are employed for ornamenting the
calf-binding with a circular centre panel, the decoration of which is
carried out by a special process of tooling and staining. M Of a much
simpler character is the work of Franz Weisse, who likewise has come
from the ranks of the handicraftsmen, and is now engaged as teacher
at the School of Applied Art in Hamburg. The simple but bold stamp-
ing in which the decoration of his pigskin binding (p. 170) is executed
comports well with the outspoken candour of Grimmelshausen's " Sim-
plicissimus." A feature of interest is the use of the "batik" process* for
producing floral ornament spread over the sides and back of the parch-
ment binding.Jff Again, in the richly decorated bindings of F. A. Demeter
(pp. 161 and 162) one observes the sure hand of the experienced prac-
titioner who knows how to take advantage of the beauties of material
and technique in the fulfilment of his artistic aims. His ornamentation
is certainly not quite original, but is distinguished by a clever deco-
rative treatment of floral motives and a tasteful application of them ;
and even when he completely covers the back and sides with decoration
of a uniform character, one does not feel that it is overdone. A beau-
tiful example of his work is the binding with a design of leafage in gold
on a reseda-green leather. Demeter also is a professional binder, and

* Batik IS a process of producing patterns by means of dyes and resists ; it has long been
in use in the Dutch East Indies, whence it was introduced into Holland, and now has a
considerable vogue both there and in Germany, Austria and Hungary.

at present is head of the applied art department of theHiibel andDenck
wholesale bindery at Leipzig. Even these large industrial concerns,
equipped for the wholesale production of cheap bindings, have been
obliged to take account of the growing desire for books that have an
artistic value, and to attach to their establishments special departments
in which, under the supervision of artistically minded craftsmen, not
only simple bindings in *' boards," but also the costly and elaborate
kinds of binding requiring most careful hand-work, are prepared. Jff
One of the most individual of the German artists who have devoted
themselves to the modern art of the book is Emil Preetorius. He is
a born illustrator, and has mastered all the various means of expression
in equal degree ; even in the very concise outline of the silhouette he
achieves an abundance of characterisation and vitality. The silhouettes
shown here (p. i6o) are from a popular edition of Daudet's "Tartarin
de Tarascon," which he has embellished and illustrated with refined
artistic feeling ; they figure there merely as the decorative headpieces
to certain of the chapters, and serve as a jocose premonition of what is
to follow. They are not the actual illustrations of the book, but they
certainly afford an excellent idea of the happy way in which with these
queer little black figures he has caught the grotesque comicality of
this strange adventure. He is also fond of giving the reader in his
title-pages a foretaste of what awaits him, of expressing graphically,
in drawings often containing a number of figures, the contents and
spirit of the books in which they appear. His figures are mostly those
of people who lived in the " Biedermeier " age ; they have a distinctly
old-fashioned look about them, but none of that sentimental "gush"
which so often makes the so-called "Stimmung"picturesof that period
unpalatable to us moderns. While having a decided partiality for the
peculiarities and foibles of the "Biedermeier" folk, Preetorius is
thoroughly modern in feeling ; his drawings are austere rather than
sweetly sentimental, and even their aesthetic defects are pertinent to his
art. M The part played by variousenterprising and ideally minded pub-
lishing houses in fostering and stimulating that pleasure in beautiful
books and their acquisition which has increased to such an extraordinary
degree in Germany during the past decade must not go unrecorded
here. Among these the firm of Eugen Diederichs, of Jena, claims pri-
mary consideration because of the ungrudging spirit in which it has
afforded to all who have made a name in the sphere of artistic book-
production an opportunity of displaying their ideas and skill. This
firm caters for all the manifold cultural tendencies of our age, and its
publications being of a serious character, the collaboration of these
artists has been in the main restricted to wrappers and bindings, title-
pages, initials, ornamental borders, and other decorative details. On the

other hand, there are houses, such as that of Georg Miiller in Munich,
which besides good decoration go in largely for book illustration, in
which also numerous and interesting developments have taken place,
including a revival of various processes — such as wood-engraving, litho-
graphy, and etching — that had fallen largel)'^ into disuse, but now once
more enjoy considerable favour for the purpose of book illustration.
The Insel-Verlag of Leipzig, S. Fischer of Berlin, Paul and Bruno
Cassirer of Berlin, Kurt Wolff of Leipzig, and many others, have helped
materially in this reflorescence of German illustrative art. But at the
same time, there are more than a few who hold that a well-printed book
with unimpeachable letterpress, paper and binding requires neither
decoration nor illustration, and that its intrinsic merit depends on the
perfect manner in which the technical work is carried out. Thus the
celebrated editions of the Hyperion Press and the splendid issues of
the Century Press of the Munich publishing firm of Hans von Weber
are brilliant examples of German typography; nor need the publica-
tions of the Janus Press of Leipzig, produced with consummate tech-
nical care under the supervision of Walter Tiemann and Carl Ernst
Poeschel, fear comparison with the books that issue from the private
presses of England. These volumes are only printed in small editions
of one hundred and fifty to
two hundred copies, and
satisfy the utmost demands
of discriminating biblio-
philes. Of distinction on
account of their typically
German character are the
" Rudolfinische Drucke,"
brought out by Rudolf Koch
in association with Rudolf
Gerstung at Offenbach, and
published by Wilhelm Gers-
tung. In these books, which
are also genuinely German
in their contents, everything
is expressly avoided which in
any way deviates from the
considerations of chief im-
portance— proper spacing of
the letters and the well-
balanced composition of the
page of letterpress in Koch's
essentially German fount.

TITLE-PAGE DESIGNED BY PROF. PAUL LANG-KURZ

"^35

together with uniform excellence of workmanship throughout. Thus
only the title-pages are specially designed, and the body of the letterpress
is but sparingly relieved with the imposing initials belonging to this
fount ; but the bindings, with their cover-papers cut and printed by the
artist himself, also bear witness to the virile beauty of his art. Of a
more arresting and luxurious character are the productions of the Ernst
Ludwig Press of the Grand Duke of Hesse, the artistic supervision of
which has been entrusted to F. W. Kleukens ; and the costly editions
de luxe of the Pan-Press of Berlin, which are emebllished with litho-
graphs by Slevogt, Corinth and Pascin, or etchings by Geiger or
Walser. Such productions, however, are beyond the scope of this work.
M What Germany is now able to offer in the art of book production
is superabundantly shown in the International Exhibition which is
being held this year at Leipzig. That after barely a score of years we
should have seriously ventured to invite the civilised races to peaceful
competition in this special domain is a proof that we are conscious of
the value of our work, and do not fear the verdict of the world.

"^•i^^^3:^i^

ORNAMENT DESIGNED BY
PROF. F. W. KLEUKENS, FOR
D. STEMPEL. FRANKFURT A.M.

136

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<£ineraul)e,|llol3ett)urde(iegtin6iu(io0
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flledid einen Palaft fur den ^erjog oon
<£alabrien,den6o$nde0Ronig0;baute.
<£r gel)orte 3u den glucf lichen i^euten,
die uberaU Kui)m und futftU^ts tDol)U
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iCudooico Sforja gianjend empfangen
toorden; in Kom muj^te er fur Oincula
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dent er dann na4 $ranFrei<^ folgte, too
ityn der ^onig in Affection nai)nt; end^
li<^, na^ $loren3 3uru<f gef el)rt tourde
eroonderHegierungntitfortlaufenden
^rbeiten oerfei)en,bi0 ii)n jt^t fein alter
Conner abermal0 na<^ Kom befai>L
6ongaUo ntac^te denpapf) auf ntic^el-
angelo aufnterPfant, und mitten au0 der
Arbeit ant barton l)erau0 rourde diefer
jt^t na<^ Kont berufen. ^undert 6cudi
Keifegeld3at>Uemanii)ntaufder6teUe
au0. ^r ntu0 3u ^nfang de0 Jai^vts
1505 in ttont eingetroffen fein.
^iulio tott^tt, trof^ der €i(e, mit der er
il^n oerlangt t^atte, nic^t gleic^,n>a0 er
i^m 3U tun geben foUte.<^inige 3eit ging
daruber t>in; bi0 er il>m den^uftrag 3u
einem fololfalen 6rabmonumente er-
teilte, da0 er ffir n<^ fetber im Qantt
Peter erri^ten laffen tooUte. ini(^eU
angelo entwarf eine3ei<^nung und der
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Cl)riftentum0, an dem ^al>rl)underte
l>indur<^toeitergebautn)ordentDar,be-
fa^ eine$uUe oon ^unftf<^Q^en. Giotto

A GERMAN TYPE DESIGNED BY RUDOLF KOCH
CAST BY QEBR. KLINGSPOR, OFFENBACH A.M.

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IN THE RIGHT GOVERNMENT OF A STATE
the rules of propriety serve the same purpose as the stee^
yard in determining what is light and what is heavy,- or, as
the carpenter's line in determining what is square and what
is round. If the weights of the steelyard be true, there can be
no imposition in the matter of weight,- if the line be rightly
applied there will be no doubt about the evenness of the sur^
face,- if the square and compass be exact there will be no
uncertainty as to the shape of the figure. When a superior
man conducts the government of his State with a discrimin^
ating attention to these rules of propriety he cannot be imposed
on by traitors and impostors. The ceremonies of the Court
audiences at the different seasons were intended to illustrate
the righteous relations between ruler and subject,- the friendly
messages and inquiries to illustrate the mutual honor and
respect between the feudal princes,- those of mourning and
sacrifice, to illustrate the kindly feelings of ministers and sons,-
those of social meetings in the country district, to show the
order that should prevail between young and old,- and those
of marriage to exhibit the separation that should be maintained
between males and females.Those ceremonies prevent the rise
of disorder and confusion, and are like embankments which
prevent the overflow of water. He who thinks the old em^^
bankments useless and destroys them is sure to suffer from
the desolation caused by the overflowing water,- and he who
considers the old rules of propriety useless and would abolish
them, would be sure to suffer from the calamities of disorder.
If the ceremonies of marriage were discontinued, the path or
husband and wife would be embittered, and there would be
many instances of licentiousness and depravity. If the drinking
ceremonies at country feasts were discontinued, the order bet=
ween old and young would be neglected, and quarrelsome liti^
gations would be frequent. If the ceremonies of mourning and
sacrifice were omitted the kindly feeling of officers and sons

THE "MEDI/EVAL" TYPE. DESIGNED BY PROF. WALTER
TIEMANN, CAST BY QEBR. KLINQSPOR, OFFENBACH A.M.

147

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Don ^ayreuih

{5Swefler ^riedriSs des Qrofien

^erausgcgeben oon Johannes ^rmbrujler

^ii einem ^ildnis der S^arkgrSfin

^ilhelm BangewiefSe -Brandt

Sbenhaufen bet ^iinSen

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CAST BY THE BAUER8CHE 0IE88EREI, FRANKFURT A.M.

»5o

VOLKSKUNST UND VOLKSGUNST

UR dcr Kundige weifi cs, dafi die schoncn Erzcug*
nisse der baucrlichcn Handfcrtigkeit so zicmlich
aufgekauft sind. Die Landbewohncr cntledigten
sich mit Freuden des alten Plunders, um dafur
die ihrcr Meinung nach vornehmere stadiische
Fabrikware in buntestem Durcheinander anzuschaffen. Der
Sucht, es den Stadtern gleich zu tun, konnie auch die treueste
Anhanglichkeit an sehr wertvolle alie Erbstucke nicht wider-
stehen. So erleben wir die merkwurdigeTatsache, bauerisdie
Dielen mit all den schonen Gegenstanden in einfachster
Kunsllerschaft in stadtischen Wohnraumen wiederzufinden
und die Hauser der Landbewohner im odesten Gcschmack
protjiger Kleinstadter ausgestattet zu sehen. Alles dreht sich !
Der Vorgang ist ein natiirlicher. Seit dcr Zeit, da es auf
dem Lande als selbstverstandlich gilt, jcden zur Vcrfiigung
stchenden Wohnraum fiir klingendes Geld an stadtische
Sommergaste zu vermieten, mufiten die alten und schonen
ErzeugnissebaucrischcrKunslicraufGeschmacksmenschen
der Stadte einen sehr grofien EinfluH ausiiben. Daraus ist
die Wechselwirkung cntstanden. Gewit? ist es heute noch
moglich, hier und dort in verlorenen Winkeln eine schonc
bemalte Truhe, einen sdhweren geschnitjten Schrank, sowie
zinnerne Becher, Teller, Leuchter, ja sogar noch Porzellan
zu entdecken, abcr wer wirklich Volkskunst finden will, der
wird in die Museen gehen miissen, die gottlob vor den
Spiiraugen englischer Sammler noch vielcs gerettet haben.
Wir konncn ruhig sagen, dal^ der kiinstlerische Betatigungs-
drang im Volkc noch nicht verloren gegangen ist; abcr er
ist verwirrt, verstummelt und verdorbcn. Die Geschmacks-
vcrheerungen derverflossenenStilrevolutionspuken in den
Stadten noch herum, es ist also nur ein naturlicher Vorgang,
wenn wir ihnen jetjt auch auf dem Lande iibcrall begegnen.
Die beste Ueberlieferung kann allmahlich verloren gehen.
Setjte sich irgend ein grofistadtischer Prot? in cinem Dorfe
fest, so gcniigtc seine Bau- und Lebenswcisc vollkommen,
um die ganze Gegend nach und nach kiinstlerisdi zu veroden,

THE 8CHLANKE KLEUKENS-ANTIQUA " TYPE. DESIGNED BY PROF. F. W.
KLEUKENS, CAST BY THE BAUERSCHE QIESSEREI. FRANKFURT A.M.

[giuf)}ai)t5=Rata\og]

;®

[znxn

lllLU.nT.T

^■■tfiftn

^m Deginn der Sru^|a^cs=Saifon beef)re id)
mid) ergebenft, 1J)nen meinen fiatalog mit
dec Bitte 3U uberce!d)en,denf etben einet ge=
fdUtgen Durd)fid)t 3u unter3!ef)en und bcl
Bcforgung der Einhduf e geneigteft bcrudi=
fid)tigen 3U tDoUen, 5^^^ncr erlaube !d) mic,
1f)nen an3U3e!gen,daf5 fdmtnd)e neuf)eiten
in deutfc^en und eng(!fd)en Stoffen fiir die
Stnt)jai)ts= und Sommer=Saifon am Caget
find und gebe id) auf den nad)fo(genden
Bldttern einen hteinen iibecblidi iibec die
ma|5gebendften modeUe^ Die Hnf ertigung
feiner Damen= und [^ecren=lTloden erfolgt
in eigenet maf5fd)neiderei unter ® arantie
tadellofer Busf iiljcung 3U mdfiigen preifen.
Hufterdem geftatte ic^ mir, auf mein Cager
fertigec Damen= und l^^tren=0arderoben
i)in3urDeifen, das reidjbaltige Hn5wal)l in
modernen Rleidungsftiidien bietet und den
pecrD6i)nteften anforderungen entfprid)t
His Spe3ia(itdt fui)re id) ein grofjes Caget
fdmtlid)er Sport=Behleidungen f lie Rafen=
und IDaff erfport f otDie fur louriftiK. Durd)
meine jal)re(angen £rfai)rungen ift es mir
moglid), meinen f^unden mit f ad)gemdf5en
Ratfd)ldgen dienen und nur Dor3ug(i<^es
bieten 3U honnen, und f)Offe id), mit Ji)ren
gefd)d^ten Huftrdgen bee!)rt 3U u^erden-

THE 8CHWABACHER ■■ TYPE DESIGNED BY HEINZ
KONIQ. CAST BY EMIL QUR8CH, BERLIN

'52

seines Innern, seiner Seeie. Wird das Ausstellungsmaterial, von
diesem Standpunkt vereinigt geordnet und bewertet, wird dieser
Gesiditspunkt audi dem ganzen Unternehmen gegeniiber von
der Leitung zur Geltung gebradit, dann schildert jede verstand-
nisvoll ausgebaute Abteilung Natur und Seele in inniger Ver-
knijpfung und Wechselwirkung. So erhebt sich das in Leipzig
geplante Werk nicht allein zum Sammeipunkt alles dessen, was
bisher erreicht ist, sondern zur ungeheueren ideell belebenden
Kraft f iir den einheitllchen Vormarsch unserer Technik und Kultur !

DIE

KINEMATOGRAPHIE AUF DER

BUCHGEWERBEAUSSTELLUNG

IN LEIPZIG

Geradezu beispielios ist die Entwicklung der Kine-
matographie gewesen. Der armselige flimmernde
Kinematograph um 1900, der wie eine krankhafte
Spielerei von kleinen Unternehmern den kleinen
Leuten in fragwiirdigen Buden und schlediten nie-

drigen Laden vorgefUhrt wurde, ist nicht mehr. DerTypus jenes
Kinematographen von ehedem, der brutal, schreiend bunt wie
seine Plakate, auf die verworrenen Sinne des niederen Volkes
spekulierte, liegt in den lei5ten Ziigen. Der Kinematograph von
heute bannt sein Publikum, das nicht mehr zu unterscheiden ist
von dem des Sprech-Theaters, in groljen, wundervollen LichtspieU
hausern mit der Gebarde und dem mimischen Spiel der groljten
Schauspieler, errolltmit unbesdireiblich lebenswahremAusdruck
die Wogen des Meeres iiber den Strand und laljt das Laub der
Siiberpappel leise im Winde zittern, er zeigt mit einer Klarheit,
die etwas Schreckiiches hat, den Kampf der Biutkorper mit den
Spirochaeten des Fiebers und Ial5t alle die komplizierten Ma-
schinen, die der Mensch erfunden, lautlos vor uns ihre Arbeit
verriditen. Das Wesen des Kinematographen ist nicht mehr ohne
Wijrde, nicht mehr ohne Form und Inhalt. Wer steht nicht alles
im Dienste des Filmbildes! Zuerst waren es die BiihnenkiJnstler,
auch dieOro^en kamen; dann dieMaler undWissenschaftler und
zulel5t — ein wenig widerstrebend zwar — die Literaten. Einmal
haben dem Kinematographen die bedeutenden Verbesserungen
geholfen, mit der die Aufnahme- und dieWiedergabeapparate
ausgestattet wurden, auch dieVerwendung des Mikroskopes und

THE HELQA-ANTIQUA " TYPE. DESIGNED BY PROFESSOR
F. W. KLEUKENS, CAST BY D. STEMPEL, FRANKFURT A.M.

'53

SdNErrro

DI ANTONIO PUCCI SOVRA IL RITRATTO

DI DANTE

Questo chc oestc di color sanguigno, E come par neH'abito benigno,

posto seguente allc mcritc santc, cosi nel mondo fu, con tutte quanic

dipinse Giotto in figura di Dante, quelle oirtu, ch'onoran chi daoantc

che di parole fe' si bell'ordigno. le porta con affetto nello scrigno.

Diritto paragon fu di senten3e: E '1 suo parlar fu con tanta misura,

col braccio manco aooinchia la scrit-* che 'ncorono la citta di Firen3e
pcrdie signoreggio molto scien3e. (tura di pregio, onde ancor fama le dura.

Perfctto di fatte33e c qui. dipinto,
com'a sua oita fu di carne cinto.

THE H0LZL-MED1>EVAL" TYPE. 0E8I0NED BY EMIL
HOLZU. CAST BY D. 8TEMPEL. FRANKFURT A.M.

'54

J?SSSS

WER BUECHER LIEST,
VERDIENT DEN PREIS
VOR EINEM, DER UN-
WISSEND 1ST, UND DER
1ST JENEM VORZUZIE'
HEN. DER DAS GELESE-
NE NIGHT VERGISST;
EIN SOLGHER 1ST VON
HOEHERM WERT DER
DAS GELESENE AUGH
VERSTEHT DOGH HOE-
HEREN WERT ALS DIE
SER HAT DER MANN,
DER DANAGH FRISGH
ANS HANDELN GEHT

INDISCHER SPRUCH

sssnss

THE " HOLZL-MEDI/EVAL" TYPE. DESIGNED BY EMIL
HOLZL, CAST BY D. STEMPEL, FRANKFURT A.M.

155

ZIELE UND

AUSSICHTEN DER

GARTENSTADT'BEWEGUNG

VON

DR. KARL MANGOLD

DRESDEN

AS Problem des Stadtebaues ist hcute, im Gegensafe zu
frliher, wo unsere Stadte klein und ihr Wadistum gering
war, bei dem ungeheueren Wadistum derselbcn au&eror-
dentlidi dringlidi. Die sdiwersten Mi&stiinde liegen vor:
die gro&eMasse der Bevblkerung ist von der Natur in einem
Grade abgeschlossen, wie er in der deutschen Geschidite
iiberhaupt nodi nidit dagewesen ist; die ganze Anlage der Stadte ist
nidit entfernt so planvoll, wie sie sein miifete. Die Preise des 5odens sowie
derWohnungen sind ungetieuerlidi und vor allem auch der aufeere Anblid<
von einer sdireckenerregenden Ha&lictikeit. Wotil tiat man durdi Bauord-
nungen und Bebauungsplane, durdi Sdiaffung offentlidier Aniagen, durdi
Aniegen von Villenstadtteilen und Vororten und atinlidies metir Abtiilfe zu
sdiaffen versudit, aber dodi nur mit ganz ungenligendem Lrfolge.
Es drangt sidi der Gedanke auf zu versudien, auf einer neuen Grundlage,
auf billigem Land draufeen, ganz neue Stadte aufzubauen, die nidit durdi
die Siinden der Vergangenheit belastet sind. Vorstufen zu einem soldien
Vorgetien sind ja otinedies vorhanden in den Griindungen so mandier grofeen
Terrain -Gesellschaften, namentlicti in Berlin und Umgebung, ferner in den
gro&en Arbeiter-Kolonien der Grofeindustrie, wie z. B. in den bekannten
Aniagen der Firma Krupp, und endlich aucti in einigen ganz besonders her-
vorragenden und umfangreictien Baugenossensdiafis- Griindungen. tiier
reitit sidi nun zwanglos der Gedanke der Gartenstadt ein, der aus England
zu uns gekommen isl. DortveroffentliditeEnde 1898Ebenezer tloward, von
Beruf Stcnograpti und jefet am Ende der Tiintziger Jatire stehend, ein Buch
To morrow' (spater unter dem Titel 'Garden Cities of to morrow', deutsdi
unter demTitel 'Gartenstiidte in Sidit', Jena, Diederictis), das groBesAufsehen
erregte. Es geht aus von dem Grundgedanken, da& auf der einen Seite die
gro&en Stiidtc iiberfiillt, auf der anderen das I and entvolkert sei und da& es
daraufankomme,StadtundLandmiteinander zu vermiihlen durdi Sdiaffung
von Gartenstiidten, weldie die Vorteile des l.andes mit denen der Stadt ver-
einigen. Line solche Gartenstadt soil nur eine begrenzte GroBe tiaben, etwa
30000 Einwotiner, dann soil ein dauernd zu ertialtender, grofeer landwirt-

THE ■■ INQEBOHQ ANTIQUA " TYPE DESIGNED BY PROFE880R
F. W KLEUKENS. CAST BY D STEMPEL, FRANKFURT A.M.

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ORNAMENTS DESIGNED BY PROF. F. W. KLEUKEN8, FOR THE BAUERSCHE QIESSEREI, FRANKFURT A.M.

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ORNAMENTS DESIGNED BY PROF. WALTER TIEMANN. FOR QEBR. KLINQ8POR, OFFENBACH AM.

•58

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INITIAL LETTERS AND ORNAMENJS DESIGNED BY PROF. F. W. KLEUKENS. FOR D. STEMPEL, FRANKFURT A.M.

159

HEAD-PIBCES BY EMIL PREETORIUS FOR DAUDET'S TARTARIN DE
TARASCON ■• PUBLISHED BY DERQELBE VERLAQ, MUNCHEN-DACHAU

I 60

BOOKBINDING IN GREEN MOROCCO, WITH GOLD AND BLACK TOOLING
DESIGNED BY P. A. DEMETER, EXECUTED BY HUBEL AND DENCK

BOOKBINDING IN LEMON YELLOW MOROCCO, WITH GREEN INLAY AND GOLD TOOLING
DESIGNED BY P. A. DEMETER, EXECUTED BY HUBEL AND DENCK

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AND BLIND TOOLING. BY PAUL KERSTEN

BOOKBINDING IN NEAT'S LEATHER. WITH PUNCHED
AND TANNED ORNAMENTATION. BY PAUL KERSTEN

BOOKBINDING IN RED MOROCCO. WITH INLAY AND GOLD
TOOLING. BY PAUL KERSTEN

164

BOOKBINDING IN BLUE MOROCCO. WITH INLAY AND
GOLD TOOLING. BV PAUL KERSTEN

BOOKBINDING IN BUFF MOROCCO, WITH INLAY
AND GOLD TOOLING. BY PAUL KERSTEN

BOOKBINDING IN BLUE MOROCCO, WITH INLAY
AND GOLD TOOLING. BY PAUL KERSTEN

BOOKBINDING IN RED CALF, WITH INLAY AND GOLD
TOOLING. BY PAUL KERSTEN

BOOKBINDING IN PIGSKIN, WITH TOOLING.
BY PAUL KERSTEN

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BOOKBINDING IN LEATHER, WITH SILVER CLASPS. DESIGNED BY PROF.
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(TinlBlnferibijIifi^'

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BOOKBINDINGS IN LEATHER, WITH GOLD TOOLING DESIGNED BY PROF. JOH.
VINCENZ CISSARZ, EXECUTED BY QUSTAV FROLICH

BINDING CASE. DESIGNED BY
PROF. JOH. VINCENZ CISSARZ

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BINDING-CASE. DESIGNED BY KARL KOSTER

VELLUM BINDING. DESIGNED BY KARL KOSTER

VELLUM BINDING. WITH BATIK ORNAMENTATION
DESIGNED BY KARL KOSTER

BOOKBINDING IN LEATHER, WITH GOLD TOOLING
DESIGNED BY KARL KOSTER

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BOOKBINDING IN WHITE PIGSKIN. WITH INLAY AND GOLD TOOLING
BY FRANZ WEISSE

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PARCHMENT BINDING, WITH BATIK ORNAMENTATION
BY FRANZ WEISSE

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FRANCE

THE ART OF THE BOOK IN FRANCE.
BY E. A. TAYLOR

INGERING in thought over the far-away days of the
glorious bibliographic and typographical past that France
has enjoyed, one finds little has happened, amidst all the
changes which have swept over those arts in recent years,
to disturb the employment of her bibliopegic artists. There
are few of her remaining old streets through which one passes with-
out being attracted in one way or another to the sign of the relieur-
doreur. To give a remarkable instance of this unique position one
has only to recall the sale of the collection of the Vicomte de la
Croix-Laval in 1902, in which the books were not catalogued in the
names of the author but in that of the bookbinder. But this is not sur-
prising when we consider the excellent craftsmanship of such men as
G. Canape, Chambolle-Duru, S. David, Charles Lanoe, Marius Michel,
G. Mercier, Rene KiefFer, and the fascinating execution of the designs
on vellum by Andre Mare. Yet it is not uncommon to hear the travel-
lers' comment that books with an attractive outside appearance are non-
existent in Paris. Unlike England, France expends little additional
labour on the lasting, apart from the certain attractive qualities of cloth
or paper-covered board casings, while modern end-papers, as known in
other countries, have so far found little consideration. Much energy is
focussed on the edition de luxe, embodying the work of popular artists,
good paper and type, the result being a limited number of paper-covered
volumes, all excellently produced, but very often disappointing in their
page arrangement and design and the suitability of text to type and
type to illustration. Jff But this leads me into an explanatory discussion
on the old printer's independence of other craftsmen whose art is now
divided into separate and recognised trades. And it is remarkable that it
should be so to such a great extent, for fewer places other than Paris are
so sympathetically enjoined to their artists. It may be the fault of the
artist who is more enwrapped in his craft than the art evolved in its
ultimate end. Jff Within the last few years, however, printing has vastly
improved, and this has been due in no small measure to the efforts of
MM. G. Peignot and Sons. As early as 1900 the Peignot type foundry
introduced a new typography with frankly modern tendencies, the best
testimony of their efforts at that time being the productions of" Grasset,"
following with the " Auriol," and later on the Bellery-Desfontaines
types and ornaments. At the same time, not desiring to lose touch with
that which in typography of the past is most intrinsically valuable for
to-day, a little booklet issued lately, entitled *' Les Cochins," by the two
brothers Peignot, clearly demonstrates the results of their attainment.
This booklet, apart from being a catalogue of their research, has behind

179

it the primary desire that editors and printers should try to realise the
significance of a typographical revival in France, and the influence it
would have on all branches of the graphic arts. M Despite the remark-
able progress that processwork has made, apart from the most ingenious
inventions and machinery being of French origin, wood-engravers and
wood-engraving, as employed for illustrative purposes, maintain a pro-
minent and more unique position in France than in any other European
country. Amongst the most recent productions of note " Daphnis et
Chloe"(p. i9o),printedand published by M.L. Pichon,is uncommonly
good, in fact all that issues from M. Pichon's little establishment is
unusually refined. Then there are others, but space will not permit
me to dwell on each one's excellent qualities. However, I must not
neglect to mention the remarkable edition of" Le Grand Testament de
Fran9ois Villon," which I have seen in preparation by M. A. M.
Peignot, with illustrations and especially designed type by Bernard
Naudin ; also some thoughtful little volumes in theseries "LesMaitres
du Livre," published by MM. Georges Cres et Cie under the direction
ot M. Ad. van Bever ; and if it were not for the thoughtful, untiring
efforts of such editors as M. Lucien Vogel, of the " Gazette du Bon
Ton," and publishers of editions d'art as MM. A. Blaizot, L. Carteret,
H. Floury, F. Ferroud, Jules Meynial, R. Helleu, Rene Kieffer, E. Rey,
Octave Charpentier, E. Levy, and H. Piazza, the bibliophiles of Paris
would have a poor output from which to select. From amongst others
the notable and varied publications of the libraries Ollendorff, Larousse,
Hachette et Cie, A. Fayard et Cie, Caiman Levy, Plon-Nourrit et Cie,
Adrian Sporck, L. Michaud, E. Flammarion and A. Vaillant should be
noted. Finally I must not forget to mention the powerful influence of the
" Societe des Amis des Livres," " Les Cent Bibliophiles," the " Societe
Normande du Livre illustre," and the " Societe du Livre d' Art Contem-
porain" ; and without a prolonged description of each Societe it must
suffice to mention the prosperity the " Societe des Amis des Livres "
enjoys under the presidency of M. Henri Beraldi, the originator of the
" Societe des Bibliophiles de Paris "and a publisher of note. Amongst his
first efforts" Paysages Parisiens," by Emile Goudeau, and G. Montor-
gueil's " Paris au Hasard," both illustrated by Auguste Lepere, are the
most distinguished, and to him my thanks are due for his kindly interest
in my bibliographical quest, and to the President of " Les Cent Biblio-
philes," M. Eugene Rodrigues, for his generosity in placing at my dis-
posal pages and illustrations from his admirable collection. JS" After all, it
is to men like these, and to the organizations to which they belong, that
France owes the prominent bibliographical position she holds, and the
freedom her excellent artists and craftsmen enjoy in retaining for us in
fitting garb the minds of the great, be they echoes of the past or turbu-
lent cries in the dark, the songs of the open and sunlight, the sonnets of
autumn and shade, or the love in the laughter of children.
i8o

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T?iris
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TITLE-PAGE DESIGNED BY P. E. VIBERT, FOR MM. GEORGES CRE8 ET CIE

181

LE DERNIER LIVRE D'EDOUARD PELLETAN.

Void done le point final mis a la page et void le dernier feuillet
tourne'! Nul livre de'sormais ne portera cette firme repute'e, ornee de
la devise empruntee a Thucydide : kthma es aei. De meme qu'il
n'y a plus d'e'diteur, il n'y aura plus d'editions Pelletan.

Avec quel amour, avec quels soins, pourtant, le maitre a travaille
a ce dernier fils de son genie! Get ouvrage, tout en gravures origi-
nales, etait avec La Kotisserie, toute en gravures de reprodu(5lion, les
deux livres qu'il affecSlionnait le plus. Dans La Kotmerie deJa Rem
Pedauque, il avait e'crit, en quelque sorte, le testament de la gravure
sur bois d'interpretation , et, par I'illustration et I'habillage du texte,
pose le sceau sur les ouvrages de cet ordre. La Kotmerie teste le livre
du xix*^ siecle, Hesiode et La Terre Q^ V Homme appartiennent au xx^.
Plus d'illustrations proprement dites, mais une suite de libres compo-
sitions, parentes du texte par leur sentiment general, — et une page
renouvele'e, qu'e'gaient des bandeaux de couleurs, qu'une extraordi-
naire abondance de sujets decore. Le grec de'Garamond qui, depuis
plus de quarante ans, dormait dans les casses de I'lmprimerie natio-
nale, apporte la sedu6lion de son ecriture fleurie; en regard, les pages
de la tradu6^ion, en cara6teres romains de meme origine,'se disposent
avec noblesse. Et, quand on arrive a la partie moderne, raspe6l
change. Le texte de M. Anatole France s*y deroule comme un fleuve
entre les cent ilots des gravures. Puis, ^a et la, aux endroits choisis,
de grandes compositions en pleine page. Partout, un ordre evident et
une richesse non moins evidente. Chaque livre de Pelletan est pareil
a la salle d'un musee bien dispose; la salle <X Hesiode et de La Terre Q^
r Homme est une des plus somptueuses et des plus etranges. Son grec.

PAGE PRINTED IN "GARAMOND" TYPE (ENGRAVED
FOR FRANCOIS I ). WITH WOODCUT BY PAULEMILE
COLIN, LENT BY MONS. R. HELLEU

183

LE TRANSFORmsrrr:

|ES origines de la terre a I'apparition dc rhommc, le
dcVeloppcment dcs formes est pareil a celui de I'arbre.
Les organismes definis sent les feuilles cparpillees, les fruits
naissants et les fruits murs, les fruits tombes, les fleurs
ouVertes. Plus has les ramcauK indistincts, les branches
frustes, le tronc massif, les racines perdues qui lient la
forme cpanouie a la substance originellc. Ainsi, les formes
de la Vie qui cherchent I'equilibre a la clarte de la conscience,
tendent a se differencier de la forme dc I'uniVers, La terre
est nue a I'origine, et parait nue encore a I'heure ou la Vie
essentielle s'clabore au fond de la mer. Puis, les forces inte-
rieures se rcVelent a sa surface en VcgctauK gras et confus,
en betes chaotiques ou le sol attache le poids des alluvions
primitives ; puis ce sont de hautes forcts qui repandent dans
le ciel libre leurs bras charges de feuilles Vertes, ce sont
d'harmonieuK animauK; I'homme apparait, s'effor9ant d'or-
donncr son ctre, de marier son rythme intcrieur au r^thme
entier de la nature ; enfin I'esprit Veut s'affranchir, doniiner
les lois de la Vie : les lois de la Vie le suppriment. Or, I'in-
tcUigence des hommes prend contact aVec la nature en sui-
Vant les memes chemins. Dc son eVeil a son cclosion, a ses
eclipses periodiques, elle rcpcte mot a mot I'histoire des
ages confus qui I'ont precede sur la terre. L'artiste primitif
laisse engagces dans la forme du monde les architectures
transitoires, hommes, betes et plantes, ou la substance de
la Vie fleurit pour un moment. Dans leurs manifestations
brutes, tous les archaismes se touchent, I'esprit humain n'a
qu'un berceau. La forme des statues antiques est cmpri-
sonnee dans la pierre, comme ces monstres indistincts que
le sol ne Veut pas quitter et dont il empate toujours les
articulations cpaisses. En elles, pesamment, circule une Vie
torpidc et muette, une chaleur qui n'est pas flamme encore :
dans sa matrice de granit, le germe de I'esprit tressaille.

PAGE PRINTED IN ROMAN FACE TYPE DESIGNED BY GEORGE
AURIOL, CAST BY O. PEIGNOT ET FIL8, PARIS

184

GIROUETTES

ES homma saga compannl ^lolon-
liers lairs conkmporains a cks
giromtks que k moindn ^Icnl fait
-Oinr. Moi qui suis Vami cks giroudks, je
paise qu'on a peui-etn tort de les juger
si kghavcnt 1 Lorsque dam I'apoir,
"% sou^mt de^'u, de -Ooir le del s'a'laircir, je
l!) INe les ^eux ^)ers le petit peuple girouet-
'^ tique, Je ^^ois le labour eur se diriger exac-
tement Hers Vendroit que -^ise le doasseur,
et le bateau Hoguer dans la meme direction,
et le leS)rier courir au meme but, et la sirene
indiquer clu cloigt le meme point m^stdieuX.
]IS 11 ^ a clone entente absolue entre toutes
les girouettes. 1 Jlimer le cbangement ne
me par ait pas si clde stable que ^a,.„ JJ im-
portant c'est que tout le moncle soil cV accord.

George Auriol

ei,

PAGE PRINTED IN ITALIC FACE TYPE DESIGNED BY GEORGE
AURIOL, CAST BY G. PEIQNOT ET FIL8, PARIS

185

E ne saurais approiiver cette lacne
espece o noniines qui mesiirent la
aiiree oe leur altection a celle oe la
teJicite oe leiirs amis; et pour moi,
Dien loin o etre o line minieur si
basse, je me pique o aimer jusques
en la prison et dans le sepulcre. J en ai rendu des
temoignages publics durant la plus cnaude perse-
cution de ce grand et divin J. neopnile, et j ai tait
voir que, parnu 1 mtidelite du siecle ou nous sommes,
il se trouve encore des amities assez genereuses pour
mepriser tout ce que les autres craignent; mais,
puisque sa mort m a ravi le moyen de le servir, je
veux donner a sa memoire les soins que j avais des-
tines a sa personne, et taire voir a la posterite que,
pourvu que 1 ignorance des imprimeurs ne mette
point de taute a des ouvrages qui d eux-memes n en
ont pas une, elle ne saurait rien avoir qui puisse ega-
ler ce qu ils valent. ...C^uiconque acnetera ce digne
livre, sans doute sera contraint d avouer que c est la
premiere tois qu il a bien lu jLneopnile. Ue sorte que
je ne tais pas ditticulte de publier nautement que
tons les morts ni tons les vivants n ont rien qui puisse
approcner aes torces de ce vigoureux genie; et si,
parmi les derniers, il se rencontre quelque extrava-
gant qiu juge que j ollense sa gloire imaginaire, pour
liu montrer que je le crams autant comme je 1 estime,
je veux qu il sacne que je m appelle JL/E oCUD£RY.

PAGE PRINTED IN "NICOLAS COCHIN" TYPE, ADAPTED
AND CAST BY 0 PEIGNOT ET FIL8. PARIS

I 86

Ze Grasset.

jiitg. L'epoque contemporaine semble, par ses recherches, vouloir trou-
vcr unc nouvelle expression du vrai et du beau. Cependant, il est
certaines personnes chez lesquelles le besoin d'un Art nouveau ne se
fait pas sentir d'une fa^on bien intense. « Nos aines, disent-ils, nous
ont laisse de tels monuments d art que nous ne pouvons esperer les
surpasser. Pourquoi ne pas nous en tenir aux interpretations de ces

^^r A cette objection, notrereponse semblera moins temeraire en nous
aidant des declarations qu'a faites le grand critique Taine, avec son
autorite indubitable, dans sa Vhilosophie de I 'Art. « L'oeuvre d'art,
dit-il, est determinee par un ensemble qui est I'etat general de I'esprit
et des mceurs environnantes. » Plus loin il la definit ainsi : « 11 y a une
direction regnante qui est celle du siecle ; les talents qui voudraient
pousser dans un autre sens trouvent Tissue fermee; la pression de
I'esprit public les comprime ou les devie en leur imposant une florai-
son determinee. » Et encore : « L'oeuvre de I'artiste a laquelle auront
contribue secretement des millions de collaborateurs inconnus sera
d'autant plus belle qu'outre son travail et son genie elle contiendra le
genie et le travail du peuple qui I'entoure et des generations qui

AissoNS done aux Elzevir, aux Fournier le Jeune et aux Didot
,^^ la gloire d'avoir si merveilleusement resume I'art typogra-
■^^ phique des xvi*, xviu^ etxix^ siecles, et que notre ceuvre a
nous soit comme une resultante de la periode contemporaine. Ce qui
a toujours ete le caractere dominant de Tart fran^ais, c'est ce souci de
la clarte, de la precision, qui fait que dans ses di verses manifestations
I'imagination n'a jamais empiete sur le domaine de la raison. Or, en
observant le type dessine par Eugene Grasset, ne retrouvons-nous
pas I'indice de toutes ces qualites ? Tout d'abord, il est simple, c'est-a-
dire qu'il n'y arien qui soit superflu, rien qui ne vise pas uniquement
a donner a chaque lettre ses caracteres distinctifs. C'est pour ainsi
dire la synthese de la lettre indiquee au pinceau, sans deviations,
sans inutilites, mais d'un trait sur et ferme qui ne laisse rien au hasard.

TYPE AND ORNAMENTS DESIGNED BY GRASSET
CAST BY Q. PEIGNOT ET FILS, PARIS

187

C'etaii, iL men souvienf, par une nuit d'auiomne,

Triste et froide, a peu pres semblable ^ celle-ci ;

Le murmure du vent, de son bruit monotone,

Dans mon cerveav lassS bergait mon noir souci.

J eiais ^ la fenetre, attendant ma mattresse ;

Ei, tout en ecoutant dans ceite obscurite,

Je me sentais dans L'ame une telle detresse,

Q^'iL me vint le soupgon d'une infidelite.

La rue oii je logeais etait sombre et deserte;

Q^elques ombres passaient, un falot a la main ;

Q^and la bise soufflait dans la porte entr'ouverte.

On entendait de loin comme un soupir humain.

Je ne sais, h vrai dire, a quel facheux presage

Mon esprit inquiet alors s'abandonna.

Je rappelais en vain un reste de courage,

Et me sentis fremir lorsque L'heure sonna.

Elle ne venait pas. SeuL, la iete baissee,

Je regardai longtemps les murs et le chemin, —

Et je ne fai pas dit quelle ardeur insensee

Cette inconstanie femme allumait en mon sein ;

Je n'aimais quelle au monde, et vi\?re un jour sans elle

Me semblait un destin plus affreux que la mort.

J6 me souviens pourtanl qu'en cette nuit cruelle

Pour briser mon lien jejis un long effort.

Je la nommai cent fois perfide et deloyale,

Je comptai tous les maux quelle m'avait causes.

Tielas ! au souvenir de sa beaute fatale,

Q^els maux et quels chagrins n'etaienf pas apaises !

Le jour parut enfin. — Las dune vaine attente.

PAGE FROM A. DE MU88ET'8 "LES NUIT8" (JULES MEYNIAL,
PARI8), PRINTED IN TYPE DE8IQNED BY AOOLPHE QIRALDON
CA8T BY LA MAI80N DEBERNY

1 88

Deux causes essentielles ont produit eel e^el. D'abord,
el bien visiblemenl, une morbidesse native le predestinait
aux emotions aigues, voluptes ou lourments : la frenesie
d'aimer Irepide en ses premiers poemes, tout comme la
fureur de se lourmenter exaspcrera les derniers. Done, a
corps perdu, I'adolescent s'esl rue a la joie : iL y lord et use
ses nerfs, si bien qu'iL en arrive avant L'heure a L'epuisemcnl
des energies vilales, qui sera la seconde cause de son abat-
Icmenl. A cette clape de sa vie, pour que la crise se mani-
fcste, iL sufira de quelque amour Irompe, evcnement banal,
prevu, el donl iL devisail naguere sans amerlume, mais qui,
cette fois, coincide avec un ctat de receptivilc anormalc;
la volonle ne reagil plus, el le blessc, beaucoup moins
blesse que malade, accepte son sort, adopte sa deslince,
concentre en clle ses faculles pensanles comme sesfacultcs
nerveuses, et dclibcremenl se couche sur son lit d'incu-
rable, pour crier jusqu'a ce qu'iL en meure.

A parler franc, el pour tout dire. Mussel avail reconnu
dans sa douleur la source mcme de son genie ; ce besoin
de sou^rance, qui dcja lui clail dcvenu natureL, allait ainsi
lui devenir prccieux. Esl-ce un jugemenl tcmcraire, de con-
sidcrer que eel amourcux au dcsespoir ail eu la pretention
de s'criger en personnage de Icgende et d'incarner, dans la
mcmoire des hommes, le type de L'amanl au dix-neuvieme
siccle? Les grandcs passions, en somme, sont assez rares;
L'amour lolaL, exclusif, absolu, ne se rencontre gucre que
dans les livres ; chaque siccle a peine nous en donnc un :
Hcloise et Abcilard, Dante et Beatrice, Laure el Pctrarque,
Romeo el Juliette, puis, toute seule, Manon Lescaut ou
M"^ de Lespinasse, et Mussel tout seuL... Pourquoi pas? IL
s'cgale, en pensce, aux illustres romans d'amour; a lui seuL
iL sera le pocme el le pocte tout a la fois, L'ceuvre vecue,
une monographic du dcsespoir chantc, I'inoubliable, I'unique,
el sans que mcme un nom de femme s'accroche a L'aurcoLe
du sien... Oui, pourquoi pas ? El pocliquement, avec une
complaisance d'exception, iL s'aide a la douleur. Gucrir? IL
ne le voudrail pas! Au besoin, des poisons L'empccheronl

PAGE FROM A. DE MUSSET'S "LES NUITS" (JULE8 MEYNIAL.
PARIS). PRINTED IN TYPE DESIQNED'BY ADOLPHE QIRALDON
CAST BY LA MAISON DEBERNY

189

DE DAPHNIS ET CHLOE

du trespas de leur maistre* Apres que Dorcon
fut enterre Chloe mena Daphnis en la caverne des
Nymphes, ou elle le nettoya, et quant et quant pour
la premiere fois en presence de Daphnis lava aussi
son beau corps d'elle-mesme, blanc et poly comme
albastre^ et qui n'avoit que faire d'estre lave pour
sembler beau, puis en cueillant ensemble des fleurs
que portoit la saison, en firent des chappeaux aux
images des Nymphes, et attacherent contre la
roche la fluste de Dorcon pour offrande, puis cela
faict retournerent vers leurs chevres et brebis, les-
quelles ils trouverent toutes tapies contre la terre
sans paistre ny besler, pour Tennuy et le regret
qu'elles avoyent, ainsi qu'il est a presumer, de ne
veoir plus ny Daphnis ny Chloe, mais aussi-tost
qu'elles les apper(;eurent, et qu'eux se prindrent a
les sifler comme de coustume, et a joiier du fla-
geoUet, elles se leverent incontinent, et se prindrent
a pasturer comme devant, et les chevres a sauteler

PAGE FROM "DAPHNIS ET CHLOE." PRINTED IN " JENSON "
TYPE BY L. PICHON. PARIS, WITH WOODCUT BY CARLEQLE

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BOOKBINDING IN LEVANT! MOROCCO, WITH INLAY AND TOOLING
DESIGNED BY ADOLPHE GIRALDON, EXECUTED BY G. CANAPE

191

BOOKBINDING IN LEVANT MOROCCO, WITH INLAY AND TOOLING. BY G. CANAPE

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AUSTRIA

THE ART OF THE BOOK IN AUSTRIA
BY A. S. LEVETUS

LIKE Other countries Austria has, in all that relates to the book,
gone through periods of high developments, followed by a
time of inactivity which could but lead to eventual decay.
That in the past many works of a high artistic value as regards
printing, illustrations, type, and binding, in fact all the quali-
ties which go to make an artistic production, were issued by the various
presses, many books still existing go to prove. On the whole the printers
of Austria were never very numerous, and she has never been a book-
producing centre, even in the Capital itself, as have been many German
cities, such as Nuremberg, Augsburg and Leipzig. Under the Empress
Maria Theresa the art of the book flourished, for being possessed of a
fine artistic nature, she granted many privileges to the makers of books,
and set great value on such volumes as were real works of art. Her son,
Joseph II, who during his youth, following the custom of the time,
adopted a trade, chose printing, and mastered it thoroughly. He
likewise granted certain privileges to the printers and in every way
encouraged the art. Dur-
ing the second half of the
eighteenth century the Art
of the Book developed con-
siderably. New types were
invented, woodcut engrav-
ings gave way to copper
engravings, the paper was of
the best quality, the bind-
ings of the finest leather and
of beautiful design, every-
thing, including the end-
papers, reached the highest
standard. But reaction was
inevitable in Austria as it
was in other countries, for
the age of machinery had
come. Hand-made paper,
which had furnished astaple
trade in Moravia since 1520,
when the first paper-mill
was founded in Gross-Ul-
lersdorf, deteriorated ; the
printing-machine took the

MILOS TIRANEK

DOIMYA
POTULKY

peClVOLNYCH SM£R0-

A nAkladem spolku
VYTVARNYCH umElco
•MANESVPRAZE IOO8

TITLE-PAGE DESIGNED BY R. RUZ'CKA. PUBLISHED BY THE
MANES SOCIETY. PRAGUE

203

place of the hand-press ; the fine hand-tooled leather bindings were
forced to yield to the more commercial article. Jff But in Austria, as
elsewhere, the Art of the Book was to be reborn, and it was William
Morris who was to give the impulse, for the fame of the Kelmscott
Press had reached Vienna. The men of the new school, Alfred Roller,
Josef Hoffmann, Koloman Moser, Baron Myrbach, Rudolf von Larisch,
and others have spread the new teaching. The moment was the right
one, the need of reform in all and everything concerning book-produc-
tion was recognised as part of the programme when the general question
of the teaching of art was raised in 1 897 ; but the regeneration of the
Art of the Book really dated from the beginning of the present
century. It must not be thought that no efforts had been made to
rescue the art previous to the great reform. Far from it. Twenty-
five years ago the first steps were taken by the founding of the Imperial
" Lehr -und Versuchsanstalt fiir graphische Kunst," an institution for
teaching and experimenting in graphic art, where from the first excel-
lent work was done under Hofrat Eder. The " Hof -und Staats-
druckerei " (Imperial and State Printing Office) had been called into
existence eighty years previously. But the great impetus was given

some dozen years ago when
men trained in the new
school of thought in decor-
ative art were appointed
teachers in the various
schools and institutions. M
The Art of the Book in
Austria in its modern aspect
is but young, but its develop-
ment is most interesting.
All that is best in graphic
art of the past served as the
ground-work on which to
build the art of our time ;
and this artistic basis being
of so fine a calibre, sound
and sure, has led to very
satisfactory results. First,
in the teaching of ornamen-
tal writing under Professor
Rudolf von Larisch. He has
expounded his tenets in his
"Unterricht in ornamenta-
ler Schrift," a work of great

TrTLE-PAQE DESIGNED BY VLADIMIR ZUPANSKY. PUBLISHED BY
THE MANES SOCIETY. PRAGUE

204

value to all interested in this subject. What he aims at is form, con-
figuration and spacing, to add rhythm to the letters themselves, and to
harmonise one with another in the building-up of the word ; for even
the simplest of words rightly rendered should be decorative. He does
not consider the creating of new forms of paramount importance, but
sets much store on the relation of the letter to the word, the word to
the sentence. These should fit into one another in the same manner
as the component parts of a perfect piece of architecture, for, as in
architecture we see the foundation of all art, so in lettering the basis
of all book decoration is to be sought. This theory is supported by
the study of early printed works and more particularly so in those
printed towards the end of the sixteenth century. Here we see the
aim was to achieve harmony in type, ornament and illustration. This,
too, is theaim of those whoproduce artistic books other than those issued
by the ordinary publisher. Unfortunately there are but few of the former
class in Austria. But many of the Austrian artists are engaged in illus-
trating books for German and other publishers. In Vienna, Artur Wolf
has published some very fine works illustrated by Franz von Bayros,
Ferdinand Staeger, and other
artists; Konegen's series of
children's books, illustrated
by Marianne Hitschmann-
Steinberger, are full of charm
and understanding of child
life ; Gerlach and Wiedling's
books for children have been
illustrated by various artists :
Professor Czeschka, Karl
Fahringer, F. Staeger, Franz
Wacik, Fraulein Frimberger
among others. That excel-
lent work is being done may
be gathered from our illus-
trations. Fraulein C.Hassel-
wander has done very good
work as an illustrator of
children's stories ; C. Koy-
strand has won renown as an
illustrator of refined humour ;
Ferdinand Staeger is one of
the best-known illustrators
of the " Miinchner Jugend,"
and a draughtsman of great

ELI5iABETH BARRETT-BROWNING

TUGA15KE

SKVKLUB CESKYVPRAXE-F

aKl908

TITLE-PAGE

205

ic iHuttcr Crdc roar alfo Don Ic
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fon)ln>ie auf cine unbcquemc fitt. /Ibcr die <Pci|ler
bedurfen all dcr UmfTdndli<i)fciten nid|t und geniC'
Ben ubcrdfee de« Porfcite, da^ fie nadi 6clicben in
die ©berroelt juriitfftljren (onnen, roenn |ie au9»
QttroM, (•dcrihre£e{dcnf<i^aft auegctobthabcn, da
dent3terbli*endcr tDcg3ur Rutf fehr ouf cn)igDer»
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Mjt 3u fd^auen; doc^ die roobltdtige Jcif oern>i(<*tc
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PAGE DESIGNED BY HEDWIG SCHMIEDL, FOR THE IMPERIAL
GRAPHISCHE LEHR -UND .VERSUCHSANSTALT. VIENNA

variety and vitality ; Wenzel
Oswald and Gustav Kal-
hammer are past students of
the Imperial " Kunstgewer-
beschule" in Vienna and are
essentiallv decorative in their
art; while Dagobert Peche
hails from the Imperial
Academy and his work is
of a highly decorative char-
acter. Alfred Keller is an
architect by profession, as is
Dagobert Peche, but he is
also an illustrator of books,
his ch'i tf Jo rte lying in line
drawing. Jff Some of the
Austrian artists excel in the
designing of book-bindings,
and it is safe to say their

work will achieve lasting fame. The mention of names such as Pro-
fessors Josef Hoffmann, Koloman Moser and Czeschka, are sufficient to
vouch for this assertion ; Anton Hofer and Rudolf Geyer, both past
students of the Imperial Arts and Crafts School, have also done some
very beautiful work which will live. All these artists have produced

bindings which in quality
j of design, material, and
I workmanship are all that
I could be desired. M In
I- the designing of new types
\ excellent results have been
I achieved. " Czeschka'sAn-
I tiqua," the invention of
Professor Czeschka, is ex-
tremely beautiful in its sim-
plicity. I thas been acquired
i by Messrs. Genzsch and
I Heyse, of Hamburg, and is
; illustrated on page zii.M
Dr. Rudolf Junk's new type
I ischaracterized by the same
I high qualities though it
- differs widely in form from

PAGE DESIGNED BY BERTA BINDTNER. FOR THE IMPERIAL ^L f f P f f^ V. Ir

GRAPHI8CHE LEHR -UNO VERSUCHSANSTALT, VIENNA tnat Ol 1 rOieSSOr L^ZeSCnKa J

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COVER DESIGN BY F. KYSELA, FOR NOVA EDICE, PRAGUE

Herr Mader's type is less
clear, though it is interest-
ing. For this Professor Hoff-
mann has made the borders
and ornament. Fraulein
Schmidt may also be
counted amongst thosewho
have created new and in-
teresting types. These have
all been published by the
" Hof -und Staatsdruck-
erei." Jff In the provinces
Bohemia holds the first
place in the Art of the
Book, which is but natural
considering how high a
prestige Prague, Pilsen,
Kuttenberg, and other of
her towns enjoyed in by-
gone ages. In modern
graphic art and book-de-
coration many Czech artists
have distinguished them-
selves. The various repro-

ductions here show that
their inspirations are those
of the true artist. To these
must be added Zdenka Brau-
nerova, Adolf Kaspar, and
Vojtech Preissig. That the
publishers are collaborating
with the artists is a good
sign, and the next few years
will no doubt see further
developments. The fact that
the modern movement in
Bohemia in the Art of the
Book is still in its infancy,
and that, in spite of this, so
much that is good has already
been done, speaks well for
the future.

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TAILPIECE DESIGNED BY HEDWIG SCHMIEDL, FOR THE IMPERIAL
GRAPHISCHE LEHR -UND VER8UCHSANSTALT, VIENNA

207

ORNAMENT BY WENZEL OSWALD

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BOOKBINDING IN RUSSIAN LEATHER. WITH INLAY AND TOOLING. DESIGNED
BY HENRYK UZIEMBLO. EXECUTED BY ROBERT JAHODA

BOOKBINDING IN RUSSIAN LEATHER, WITH INLAY AND TOOLING. DESIGNED
BY HENRYK UZIEMBLO. EXECUTED BY ROBERT JAHODA

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BOOKBINDING IN BUCKSKIN. WITH INLAY AND TOOLING. DESIGNED BY PROF. JOSEF HOFFMANN

EXECUTED BY THE WIENER WERKSTAETTE

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BORDER AND END-PAPER DESIGNS BY ALFRED
KELLER. FOR L. STAAKMANN, LEIPZIG

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223

ORNAMENTS AND TAILPIECES BY WENZEL OSWALD
224

ORNAMENTS BY GUSTAV KALHAMMER

225

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DECORATIVE ILLUSTRATIONS BY FERDINAND STAEGER
226

DECORATIVE ILLUSTRATIONS BY FERDINAND STAEGER

227

DECORATIVE ILLUSTRATIONS BY ALFRED KELLER. FOR
R. H, BARTSCHS " BITTERSUSSE LI EBESGESCH ICHTE ■
PUBLISHED BY L. STAAKMANN, LEIPZIG

228

DECORATIVE ILLUSTRATION BY ALFRED KELLER

FOR "DAS BUCH DER KLEINEN KLEINEN"

PUBLISHED BY L. STAAKMANN. LEIPZIG

DECORATIVE ILLUSTRATION BY
C. HASSELWANDER

DECORATIVE ILLUSTRATION BY C. KOYSTRAND
FOR "PIERROT ALS SCHILDWACHE" PUB-

LISHED BY S. CZEIGER

INITIAL LETTER BY GUSTAV MARISCH

229

DECORATIVE ILLUSTRATIONS BY MARIANNE HITSCHM ANN-8TEINBERGER
FOR "KONEOENS KINDERBUCHER. PUBLISHED BY KONEQEN, VIENNA

230

THE ART OF THE BOOK IN HUNGARY

THE development of art in Hungary reached its highest point
in the fifteenth century. The influence of the ItaHan renais-
sance made itself felt in this country sooner than anywhere
else, for Mathias Corvinus gathered round him at his Court a
great many Italian artists and humanists, and acquired numer-
ous finely painted books and manuscripts. The few remaining treasures
of his library, called corvinas, are wonderful examples of renaissance
book-illustrations, mostly the work of Italian miniaturists, for it would
seem that Hungarian artists were not employed by the King. Political
conflicts and wars put an end to the progress of art, and then came the
domination of the Turks, who destroyed, or allowed to perish, the exist-
ing monuments of art. JS There are many reasons to account for the
long period of depression in book-production and illustrative art which
followed. Up to as late as the middle of the nineteenth century the edu-
cated classes in Hungary adopted Latin for conversation, and it was also
the official and legal language of the country. Students went to Italy and
Germany to acquire culture. Consequently foreign influences were par-
amount, and only the cheapest books were produced at home. The native
typography could not compete with that of other countries, the art of
the book fell into decay, and Hungarian artists were only employed in
work of lesser importance. M The books which have been published
in Hungary during the last few years show a distinct advance when
compared with those previously produced. This is in a large measure
due to the training offered at the
National Arts and Crafts School at
Budapest, where opportunity is given
for the study of typography, and
characters based on the national art
have been introduced and popularized.
There is a special class for designing
script based upon the best of the old
national manuscripts which combine

the most desirable qualities — legibility fal^/#j^#f '( *

and artistic form. Three excellent ; L.*<ll' 1

examples of the work of the students \ *r\0\tQSZXUQ,

are reproduced on pages 237 to 239. Jff ; 4RJ^ •^^nClil.ZrCr
Hungary ishappy in possessinga num- i ^;^g^ *^*b<lV<IXCro5iCl
her of really clever book decorators, ^^^>^ CIlOiiQ
though many oFthem have settled out- \ *KOrd05*alDCf4

side their native country, and their

II- ^ TX...1 r^l TITLE-PAGE WRITTEN IN CORK. BY BLASIUS

work has m some respects little or the busay (arts and crafts school. Budapest)

231

D INITIAL LETTER
NAGY. PUBLISHED
" PRINTING OFFICE

purely national characteristics. A notable example of this is to be found
in the drawings of the M arquis Franz von Bayros, a Hungarian by race,
Croatia being his native province, whose work bears no relation to his
nationality. Delicate, refined, and eminently decorative, it possesses a
grace which recalls the poetic charm of the" fetes galantes^ and is yet,
in its technical dexterity and subtle comprehension of the requirements
of black-and-white, modern in feeling. We reproduce some charming
examples of this artist's work. Jff Very different in conception and
treatment, but more national in character, is the decorative illustration
by Charles Kos (page 236) for his poem, "The Death of Attila"; while
other eminent book-decorators are Willy Pogany, many of whose
drawings have been published in England, AlexanderNagy and Kriesch-
Korostoi, both leaders of the famous Godollo group of artists. Nagy
is a master of line, endowed with a poetic imagination, and he adopts
with wonderful success those forms in which the Hungarian nation is
so rich. Characteristic of his art is the headpiece shown on this page.
A quaintly treated frontispiece by Blasius Busay is also reproduced.
The original design was executed in burnt cork.
232

FIRMyg MOf^ WH¥Hn

um:^\E.MJE.m ^&^[5] ji^ m^^m^^^'i?\^\K

MWORWOfe

PMvIe

TITLE-PAGE DESIGNED BY FRANZ VON BAYROS
PUBLISHED BY ARTUR WOLF, VIENNA

233

DECORATIVE ILLUSTRATIONS BY FRANZ VON BAYROS
PUBLISHED BY ARTUR WOLF, VIENNA

234

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"DEATH OF ATTILA.'— DECORATIVE
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239

ORNAMENT BY FRANZ VON BAYR09. FOR "DIE
8ECHZEHNTE EHEFREUDE. " PUBLISHED BY

ARTUR WOLF, VIENNA

240

SWEDEN

THE ART OF THE BOOK IN SWEDEN
BY AUGUST BRUNIUS

IN Sweden, as elsewhere, the latter half of the nineteenth century
brought about a brighter period for the Art of the Book as regards
typography, quality of paper, and binding. Still the decay had
hardly been as great as in other branches of decoration and handi-
craft. Two publishing firms, P. A. Norstedt, Stockholm, and
Berling, Lund, have maintained a high standard of bookmaking. On
the other hand, a more artistic character was adopted between 1 870 and
1880 by using traditional means, by imitating Gothic manuscripts, or
by a somewhat arbitrary use of Old Northern ornamental art. The re-
naissance, which in Sweden burst forth at the beginning of the nineties,
originated in a revival of interest in the decorative arts, especially in the
textiles of the Viking and Saga periods. The Old Northern spirit ran
like an undercurrent through the life of the whole country, and culmi-
nated in Artur Hazelius'sepoch-making museum work, Skansen and the
Northern Museum. Just at the right moment there was added a prac-
tical study of modern bookmaking in England and on the Continent.
A whole generation was seized by the new ideas which were proclaimed
with such power by William Morris. JffTo initiate a movement, com-
bining as it does artistic and
practical knowledge, a pas-
sionate idealist is required.
Such an idealist is Waldemar
Zachrisson, a printer of
Gothenburg (born 1861).
He studiedin Sweden and at
the best printing firms in
Hamburg, Leipzig, Vienna,
Berlin, and St. Petersburg,
and developed his taste by
constant study of the master-
pieces of great times and the
new English and American
fine printing practised by
Morris and De Vinne. As
soon as he had secured his
own great business he began
to work for the raising of
thewholetrade. Hefounded
a union of experts, "All-
manna Svenska Boktrycka-

\s^ms^&^^!^

a I520<taltt, mbjltgen dt 1523, anicu

Iti i @6^crt6^in9, troligcn af £in(6pln9«»
blfptn hani feraff, ctt lltrt ttpchrl, foa;
till f6te|ianDarc fid „ptc«bnteni" O I as u «
Ultlci.' 2ri)ctttiet mififjaaak fmrUet-
ti6 ©nfiof ?ffiafa, fjotltcn at 1526 (lut-
-* (igcn iaf befallning om tiefi nftl48(3ante.
Otfatcn f)iUtil( ffall t)a naxit nSgra anfiitllfla \triftn
ututt mot £utt)ct o<^ rffotmationen, fom blffop iSraff
latit ttDcfa cct) utfpriM t lantet. €tt papperrtruf,
upprdttaDt fJr ttndertcts tdtning 4r 1523, blef pdfamma
iini neblagbt. SSoftrijcffntt f6:fli)ttabe« febctmeta tilt
©tane. . ^

ftSSib n4mnba trrdctt boB* emcHftttb en man^J
ffnftct blifptt utgtfno, titt t)Viitai utl^ptftl kdfnttt
ansiinbts. ©Slunba »ttt -Historia S. Nicolai-, utglf-
sen ttU mtnne af btffop ««tcolau« (.^tl^t ««t(« ea(-
lab), f6rfe6b rati rtt tUtlblab t trdfnitt fjtcfiailanbe
en biffop mtb tiitia. Sctta- fnitt eot enfclt cd}
vadttt ffurct. €tt par anbra trdfnitt, fern antinbt*
tib bftw trprterl, ttwo Dungfru aUatta meb 3efu«-
biirntt famt ett minbte ©tea eapen.
C Set dt fannolitt, att Ulttti fiAlf fpfilat meb trifnttt*-
tonften erf) utfJtt ttifnitten »ib betta ttijrfeti. €ftec
dt 1527 dtetfinna \>i fjcnom fom bottturfatc i 9)}alm6.
C ©uftaf 2Bafa, fom eat mpctct inttefTetab af bof-
trrcfetillcnften, upptittabe fiilf St 1525 „unbet fpit
befoftnob" ett tti^tteri i ©tcctfjclm, bet febttmeta f. t.

,-,.,.. . ;j5C.

PAGE FROM A HISTORY OF SWEDISH WOODCUTS." ORNAMENTS
BY ARTUR SAHLE'N. PRINTED BY NORSTEDT UND 80NER

243

reforeningen " (Swedish Printers' Society), which worked for the
estabHshment of the Museum of Industrial Art in Stockholm and the
Technical School for Industrial Art in Gothenburg. In a number of
ways, through artistic advertisements and articles in the trade papers,
he tried to prepare the ground for a higher standard in the printing-
trade generally, and his distinct practical outlook made his efforts
eminently successful. Jtf Lately in Sweden the common feature in
the aims for developing the art of the book has been the accentuation
of the national character. The difficulties have here been considerable.
As yet we do not possess a fount designed by a Swedish artist, but
the types we have are founded on an old predilection for the Roman
type. Already in 1550 the Roman type had been introduced into
Sweden. During the seventeenth and eighteenth centuries Swedish
taste was concentrated upon Dutch and French models. The Roman
type which is now used in Sweden, and which is cut in Hamburg, sug-
gests Caslon's somewhat modernized type. It is called " Medieval-
Roman," and has many advantages, is easy to read, and has an unassum-
ing simplicity. The light tone may perhaps sometimes seem mono-
tonously grey. English readers will certainly find its resemblance to the
English type, but will also easily discover the differences. M It is char-
acteristic of Swedish printing that it appears to best advantage and is
most personal in publications of an occasional character intended for a
select public. The rest of the productions are on a considerably lower
level. To English and French tastes our belies lettres show an astonishing
lack of typographical unity. There is a great variety in the sizcand make-
up, and also various many-coloured paper covers, both of good and bad
style, are used. However, an improvement has occurred in the last few
years, a quieter taste has manifested itself. A good step forward is the
excellent publication of Swedish classics issued by the " Svenska Vit-
terhetssamfundet " (the Swedish Literature Society), and printed at
Albert Bonnier's works. Here a severe and pure style is combined with
exquisite material, and great care is bestowed upon the typography. An
undertaking like this would be a credit to any country. In equally good
style is the Swedish edition of Olaus Magnus's " Historia de Gentibus
Septentrionalibus, "published by another society, the "Michaelisgillet"
(the Michael Guild). It was written about 1550 by the last Catholic
Archbishop of Sweden, who was one of the greatest travellers and most
interesting writers of the Renaissance. The text is illustrated by old
woodcuts, which had been carried out according to Olaus Magnus's
own designs. Two volumes of this splendid work have been printed by
Almqvistand Wiksell, Uppsala. Jff In a similar manner the great Handi-
craft Exhibition at Stockholm in 1 909 produced four Swedish classics ;
they were given as prizes in a lottery. These four books were arranged and
244

printed by tour different firms, an achievement which could not have
been accompHshed ten years earlier. Jff This general survey of the art of
the book during the last decades would be incomplete if it did not men-
tion a printing firm which, through its good typography, now occupies a
prominent position. The two brothers Hugo and Carl Lagerstromhave
bestowed a great deal of labour on trying to attain a higher level in print-
ing. They learnttheirtradein Germany, England, and France, andworked
for some years — one in Stockholm, the other in Copenhagen — before
they founded the Lagcrstrom Brothers printing firm in 1903. They
have also taken a prominent part in the arts and crafts movement gene-
rally. They started a paper called tht Nordisk Boktryckarkonst (Northern
Art of Printing), and founded two societies, one of which is the above-
mentioned" Michaelisgillet." Dr. IsakCollijn,adistinguishedlibrarian,
was the third founder. Jff The first book Lagerstrom Brothers printed
was a kind of typographical prospectus. Among the eight volumes by
August Strindberg there is a chemical work called " Antibarbarus."
This book was decorated by a young artist, Artur Sjogren, who is a
book-decorator with a profound knowledge of old Swedish typography.
The book was printed in a small choice edition on hand-made paper, and
four pages are shown here (pp. 249 to 252). Since then Lagerstrom
Brothers have published nu-
merous large and small
books,alway s for a more lim-
ited public, but at a price
which only slightly exceeds
the ordinary book-prices.
Their productions express
the same ideas of compro-
mise that theEnglishMedici
Society is striving for. Jff The
bibliophilepublic in Sweden
leans towards the old books,
and would not support a real
aristocratic book - business
on new lines and with
modern aims. Lagerstrom
Brothers, however, have
printed some of the most
beautiful Swedish books,
with and without decora-
tion : a couple of historical
memoirs from the time of
Charles XII; a series of small

FORTAALET ELLER INGANG:

een allmenneligh practica eller vader-
book/ effter the gamble och vijse

ALBERTI, ALKINDI, MALI, OCH PTOLOMEI LAR-
DOM; STAD2E VARANDES AhR IFRA AhR

ET AR ITT VIST OCH SANT ORDSPRAK
som allmeent sSyes Dhet ar ten godh
Van som vanrar een annan fOr Olyckan
och Skadan fOr an den kommer. Ther-
fore ar een gladh och godh tlende vfti
' ■, ' vard/ at man henne fbrkunnar, Effter thct
i*^ alia Practjkor och^ProphetJer/ icke alle-
nast are skriffne aff then Helge Andes uppenbarelse/ uthan
och andre/ hvjlket een part eendels afTlSng HimmelensLopp/
aff Planeternes och andra Stiemors beskSdelse/ och een part
eendels aff ISng Forfahrenheet/ aff Himmelens Tackn och
m&nga Omstandigheeter are uthdragne och bcgrundade/flre
ther fdrordnat och i varcket stalte/ at vij dher aff om Lycko
och olycko om/ Vader och Ovader tilfflrenne eller framfOre
ath medh goda tiender och sann Budhskap undervijste/skulje
vamade varda/ och sS stadze och altijdh om Lycko och Olycko
ffirorsakas at fruchta och troo den alzmachtige gode Gudh.
iSa ar thet rati och tilbflrligit/ ja Christeligh KSrleek och
Plicht fordrar thet ock si medh sigh/ at man gladcligh och
medh Tacksayelse anammar alia Praktiker eller Prophetier/
sora are genom then H Anda tillkenna giffne/ jemval aff an-
drom/ bade konstrijke naturlige Stiemokikare/ och andre

PAGE FROM BONDE-PRACTICA." INITIAL LETTER BY LEON
WELAMSON. PRINTED BY BRODERNA-LAGERSTROM

245

books selected from old Swedish literature ; and finally, a reprint of a
book which certainly has no equivalent in English literature, but
which all the same would probably have some interest for an English
public. The title is "Bonde-practica," and it is a kind of text-book for
peasants in nature-study and hygiene, partly written in verse. The
book was published for the first time in 1662. It is a collection of
observations founded on the theories of astrology, and told with much
humour. This book reveals the Swedish outlook on life and the
education of the people in olden times. Leon Wclamson, a young
artist, has made for the new edition of this curious old book some
simple and vigorous illustrations, which without being imitations are
executed in the old style. It is a masterpiece of Swedish typography.
M Book illustrations and decoration play an important part in the
modern art of the book. Illustrated books have always been popular,
and many of our best artists of to-day began their careers as illustra-
tors. Carl Larsson is a typical Swedish illustrator and a distinguished
painter. He illustrates, in colour or black-and-white, his own text.
But he belongs to an older school in so far as he does not pay so much
attention to the claims of decoration. OUe Hjortzberg is a compara-
tively young artist. He is in part influenced by the modern English
school of book decorators, and has done work that would satisfy even
the most exacting critics. He has acquired an extraordinary mastery
over the early Christian language ot symbols, and has in his books used
it in an ornamental manner with great success. At present he is engaged

on a richly decorated " State " Bible,
("GustavV'sBible,")agiganticun-
dertaking, in which both artist and
printer hope to surpass themselves
(p. 248). M While Olle Hjortz-
berg and Artur Sjogren are more
closely attached to the technique
of the book, Einar Nerman,one of
the youngest Swedish artists, is
more independent. He has illus-
trated several children's books and
has done some caricatures. There
is a touchof therococoinhisdraw-
ing, and elegance combined with a
bold wit whichprovessome French
influence. His curving lines bring
forth a *' roguishness" that is un-
paralleled in Swedish art, and can

SVERIGES HMJKOR

KON-STMI5TORI5KT [NVENTIARIUM

MED 5TdD AV WWUT MIST- O ANTr AnADl
UTOIVErr AV,5IQURD CURMAN

ocn JOMNNrvaoosv^L

NASTERGOTLAND

BAND I r-(AFTI

tVi\LLAND5 riARAD

NOHQA DEIXN

BEAfiBET AV

CFUOILft

PAPER COVER PRINTED BY N0R8TEDT UNO SONER COHipare With thC bCSt lOreigU
246

examples. The illustrations to the well-known tale by Hans Andersen,
" Peter the Swineherd " (p. 256), are purely original. JS" Finally, a few
words regarding modern Swedish bookbinding. Our productions have,
from the sixteenth century up to the present time, followed sometimes
German and sometimes French models ; during certain periods, how-
ever, our craftsman have produced work important and original enough
to be called " Swedish." The middle of the eighteenth century especially
was a flourishing age for the art of bookbinding. A hundred years later
the art began to lose its value and importance, but before many decades
had passed the first sign of an upward tendency was noticed. It was
in 1886, when Gustaf Hedberg returned from Paris and London where
he had been studying for a long time. He has designed and carried
out numerous bindings, and has been especially successful in attaining
a rich effect by small means. His ingenuity and ability in giving even
toasimple binding an original character are qualities associated with the
great craftsmen ofall time. J^The Countess Eva Sparre,;?/d'Mannerheim,
is at present our leading artist in bookbinding, in the sense that the work
is entirely her own, independent of traditional style and original in com-
position, in execution, and especially in colour-effects. She has not
executed a great number of bindings, but they are all distinguished by
individual character, very modest in their ornamentation, and exquisite
in the use of the materials. Miss Greta Morssing, who has chiefly
studied the modern English tooled work, is also an accomplished
exponent of the art.

INITIAL LETTERS DESIGNED BY ARTUR SJOGREN

247

»»>*»»^«»»»»»

^♦•****»**»*»>*»****»»* ■ '■ * ■ ^-1 r • ■ 1 111 -11 iTfttt>>f<nit>|i^^^^^jj

HALF-TITLElPAOE FROM QUSTAV V'S BIBLE. DESIGNED BY
OLLE HJORTZBERO. PRINTED BY BRODERNA LAOERSTRQM

248

^MSVAFLETSNATUR

|sASOM FOSSILT HARZ
iuTTRYCKT I FORMELN
CH*.0=CH'.HO=CH^H*0

TILL SVAFLETS ONTOGENI
ELLER HARLEDNINGSHISTORIA

AN VID*

hiller att

Svaflet ar

ett element

ochdijag

frSgarhvad

manmenar

inedettel&

ment, sva«

ras: — en

- kroppsom

annu icke

'ar sonderdelad. Man definierar silunda

med en negation och definiticnen ar sSlvai*

da vardelos likasom begreppet element.

CCJag p&stod daremot mcd en viss be*

starndlict att Svaflet var ett sammansatt

amne af analog konstitution med ett fos*
silt Harz, ett Mineralharz, ett Brandharz,
med ett crd: att Harz silimda innehoUe
Kol, Vate, Syre eller var ett CHO utan
att jag vUle dtaga mig bestamma for*
eningens proportioner. Och d& man ut#
fcrdrade mig att framlagga Kolet, Vatet
och Syret svarade jag: vi tro ej p4 den
absoluta idendteten utan noja oss med
analogier ledande till hog grad af sanno«
likhet. ! min,egenskap af Aristoteles lUtf
junge tror jag icke sk mycket pi kroppar*
nas konsdtudva olikheter utan mera pi
egenskapemas differenser under vissa
gifna fbrutsattningar. I min egenskap af
monist har jag tills vidare bundit mig
vid antagandet att alia &mnen och alia
krafter aro forvandta och om de aro har^
ledda ur ettjde uppstitt genom fortatning
och fbrtunning, genom kopuladon och
korsning, genom arf och omvandling,
genom urval och kamp, addition och subs
stitudon och hvad mera man viU foresli,
men att jag darvid ej si strangt antagit
den lagbundna ordmngen, andamilsens:
ligheten och dylika svafvande begrepp,
hvilka jag dock fortfarande skuUe vilja

PAGE FROM AUGUST STRINDBERQ'S " ANTIBARBARUS," WITH DECO-
RATIONS BY ARTUR SJOGREN. PRINTED BY BRODSRNA LAQERSTROM

PAGE FROM AUQUST STRINOBEROS * ANTIBARBARU9.' WITH DECO-
RATIONS BY ARTUR 8JOQREN. PRINTED BY BRODERNA LAQERSTROM

OM SVAFLETS NATUR

hiUa svStvande tills begreppen blifvit
fullt utredda, eller hvad battre ar, af#
lagsnade ur terminologien.

AG ATERVANDER
nu till Svafletoch staller
upp min posid va analogi
med ett harz emot den
ipoetiska eller metafy*
siska liknelsen med in«

terimsbegreppet element, interims erne*

dan man tillagger de viktiga orden » annu

icke> till ordet sonderdeladt.

CCUkasom ett Harz, CHO, Jir Svafiet

vid vanlig temperatur:

Kristallinskt eller amorft;

Smaltbart;

Oldsb'gt i vatten ;

Losligt i Kolsvafla,Terpentin, kolvaten
etc.;

Brannbart;

Icke ledare af elektridtet;

Negativt elektriskt genom gnidning;

Smak- och lukdost;

Sprodt;

GifVer s)rror (Bemstenssyra, Sylvius?
syra);

Gifver med alkalier Harsdpor (ssSvafvel;
lefrar);

Gifver som syror Salter med metalloxi*
der, dar Vatet substitueras af metallen.

dNu mdste dessa likheter tagas med ett

visst ofverseende, ty det finnes luktaiide

harzer och icke luktande, kristalliniska

och amorfa, och Svaflet sjalft ar en sidan

kameleont att det endast kan i ett visst

gifvet moment gfripas och stailas infor

jamfbrelseprismat.

ICMen jag g&t vidare: vi veta att bar?

zema tillhora en naturligfamilj som b6r«
jar med de atheriska oljoma, stiacker
sig ofver terpentineroch camphrar samt
stortar i andra sidan ner till Kautschuck
och Guttapercha. De atheriska oljoma
aro ju kolvaten, hvilka uppgifvas lukta
genom sin storre vatehalt, d& syrerika
anses lukta mindre. Och de hafva alia, lik*
som Terpentinoljan och Linoljan egen*
skapen att forharzas genom uptagande
afSyre.

fiCJag satter digeln ofver elden och liter
Svafiet smalta. Detflyter bemstens-gult
vid 11^ och nu forst luktar det, men ej af
Svafvel utan af Terpentin eller Harz nar#
mast dockBonvax (=Vax ochTerpeintin).
Temperaturen stiger, fargen g&r ut&t
spektrums roda anda, och blir orange,
passerar hastigt det roda, sft hastigt att
orange lagger ag pi det roda och ger
blandfargen rodbrunt vid i6o". En for*
tatnining, om kemisk eller fysisk, eller
bida, har agt rum och nu framtrader. en
campherlukt. Nar jjag forsta gingen ob#
serverade detta, trodde jag ej mitt kanske
aldsta och kanske d^or finast utveck^
lade sinne, utan tiUksllade min labora«
torielarare, hvilken, jag sager det till
hans heder, konstaterade faktum, och
det utan att han ville forringa vardet af
min iakttagelse gi^om att tala om ibr^
oreningar. Och jag har sedan flerfaldiga
ginger upprepat forsoket i narvaro af
trovardiga vittnen.

©IHvad har nil skett med Svaflsti digeln?
En ling historia som har i fdrkortning kan
uttryckas si, dock med starka reservai?
tioner. Af varmen dissorierades Svafiet
och blef ett annu tamligen syrerikt Harz,

PAGE FROM AUGUST STRINDBERGS ANTIBARBARUS." WITH INITIAL
LETTER BY ARTUR SJOGREN. PRINTED BY BRODERNA LAQERSTROM

het ledes ofver glGdajide kol, man ftr
Kolsyra; men om man leder svafvelingor
ofver glodande kol, ftr man Kolsvafla.
Ofver Kolsvaflans natur kampades bio;
digt fore midten af detta irhundrade, och
redan lingt fore trodde Lampadius att
Kolsvaflan bestod af Svafvel och Vate.
Om han sagt Kol och Vate hade jag haft
stod for min mening att
Kolsvaflan ar ett kolvate
aiialogt med Benzoht^
tl HvarfbrjagtrorattKol*
svaflan ar en benzol ? Dar#
lor att jag tror Svaflet be*
stil af Kol, Vate och Syre,
finner jag det ytterst lo*
giskt att nir svafvelingor
(icke Svafvelsyrlighet!)
ledas ofver glodande kol,
dessa dngor miste berof?
vas sitt Syre och bli frin
CHOettCH (harzemas
sonderdelningsprodukter
tillhora ju mest benzolse*
rien!). Och nar Kolsvaflan
besitter nastan alia en ben*
zols egenskaper, finner jag mig beratti*
gad godkanna antagandet. Absolut ren
Kolsvafla ar svafvelfri, luktar atheriskt,
behagligt (mark val) som Benzol; haren
mycket lilg kokpimkt, ir ytterst latt an^
Uindlig, ar oloslig i vatten, Ur starkt ljus#
bry tande, loser harzer, fetter, olja, Kaut^
schuk, Svafvel etc. alldeles som Benzol.
Ja dess fy siologiska verkningararo afven
desamma , dd dess 4ngor ger s vindel , kon*
gestioner , krakningar etc. (se Eulenberg:
Gewerbeliygiene) alldeles som Benzol.
a Ur oren Kolsvafla falles Svafvel i sol*

L, Mark hirtill att Benzolens,
C« H«, atomsumma ar 77,82
under det Kolsvaflans ar
75,93. Hur skall jag krangla
mig ur detta, utan att vald;
fbra siflTror? Jo, Benzolen bar
en kama, som upptrader vid
olika substitutionstilUallen,
och denna heter Ce H4 samt
bar Kolsvaflans atomsumma
(molekularvikt) 75,83. Ocb
nar den upptrader i barzer*
nas sonderdelningsproduks
terResorcin,Pbtalsyra etc.,
si synes Kolsvaflan slsom
en Svaflets sonderdeinings::
produkt hjalpa mig betyd;
ligt vid bevisandet af Svaf*
lets analogi med ett harzl

Ijuset, det vet jag, men skulle afven Svaf*
vel fallas ur ren Kolsvafla, di ar jag nbd*
sakad tillgripa sisom nbdfallsforklaring
min fdrsoksteori om ancestrala energUr,
hvilken jag velat spara till ett senate
bref, men nu finner ridligast presentera
och si formulera: Kropparsom engSng
utgjort komposanter i en forening bi*
behilla foreningsenergien
afven sAsom skilda.
CL Exempel: — Antag att
Svafvel ar Kol, Vate, Syre
i vissa fbrhAllanden. Lit
det glodande kolet disso*
ciera dessa och borttaga
Syret, si bibeh&lla i det nu
supponerade iterstiende
kolvatet Kolet och Vatet
sin arfda benagenhet att
med ett nyttSyre,urluften
hamtadt till exempel, iter
bilda Svafvel och ej nigot
annat C O H, sisom Cel*
lulosa, Socker, Starkelse,
Linolja, Alkohol eller dyl.
5 CoroUarium : Darfdr ar
Svaflets ifriga upptradande i djur och
vaxtkroppar beroende af en Svaflets bild*
ning af Kol, Vslte och Syre, antingen
dessa forr gjort sin metempsykos i svaf*
velsyrade salter, vatesvafla eller svafvel*
alkalier etcetera.

Jag har nu kommit si lingt att jag i
fjarran ser Kolsvaflan som ett kolvate,
men miste bekanna att jag haft iJgon*
blick, di jag trott den vara en alkohol,
icke darfdr att den i farmakop^ema lange
kallades Svafvelalkohol, utan af andra
grunder. Hvad som passerar i det gl5*

PAOE FROM AUGUST 8TRINDBEr.Q S "ANTlBAR-
BARU8." PRINTED BY BROOERNA LAOERSTROM

BOOKBINDING IN NIGER MOROCCO, WITH INLAY
AND GOLD TOOLING. BY GRETA MORSSING

iERRGARDS-^
SAGEI^^

^^^■H

Emm

BOOKBINDING IN NIGER MOROCCO, WITH INLAY
AND GOLD TOOLING. BY GRETA MORSSING

BOOKBINDING IN RED MOROCCO, WITH INLAY
AND GOLD TOOLING. BY GRETA MORSSING

BOOKBINDING IN TOOLED LEATHER
BY COUNTESS EVA SPARRE

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HEADPIECES BY EINAR NERMAN FOR HANS
ANDERSEN'S " PER SVINAHERDE." PUBLISHED
BY P. A. NORSTEDT UNO SONER

256

AMERICA

THE ART OF THE BOOK IN AMERICA
BY WILLIAM DANA ORCUTT

THE Art of the Book in America received a tremendous im-
petus as a result of the work of William Morris in England.
Previous to that time American printing showed no origi-
nality, the finest examples being based firmly upon the best
English work of the period. The highest point of excellence
was reached during the decade from i860 to 1870, and no better example
of orthodox printing could be cited than the " Life of Prescott," pro-
duced by the University Press in 1864. After 1870, and down to the
date of the Morris revival, well-made volumes were issued from the
University, the Riverside and the De Vinne Presses, but the average
quality deteriorated. The transition of book-making from a trade to
an art dates from the appearance of the Kelmscott volumes. JS Naturally
enough, the early effect of the enthusiasm over Morris's work was the
issuance of a series of monstrosities ; but the very mistakes made by these
zealous typographical disciples were educational, producing a momen-
tum which finally brought excellent results. Those who copied Morris
failed ; those who were encouraged by his departure from the beaten
track to think for themselves succeeded in retaining the basic principles
upon which the work of the master printers has always firmly rested,
applying them in the light of modern conditions, and giving them
originality by their individual experiments. Morris's work made men
think, broke down the smugness of precedent, and enabled printing to
become an art. M Cobden-Sanderson's work accomplished much in
helping American printing to assume a sane status after the hectic en-
thusiasm of the Morris period. Students of typography came to realize
that William Morris belonged to the great decorators rather than to the
master printers ; that it was his superb presswork, and the general har-
mony of the factors which went into his books,rather than his typography
overloaded with design, which represented his real contribution to the
making of the Book Ideal. When the Doves Press, in continuing Morris's
work, substituted a more classical fount of type, based upon an Italian
model of the fifteenth century, there was a quick response in America
in dropping the tendency towards the Gothic, engendered by the type
faces cut by the Kelmscott Press. During the next ten years more
original and better types were cut, and volumes were produced which
carried printing as anart toahigher point thanit had previously attained.
M Of the types cut under the so-called Gothic influence, the " Renner "
of the De Vinne Press is among the best. Theodore L. De Vinne, whose
recent death removed the ^qy^";? of American master printers, was respon-
sible for the well-sustained reputation of his Press during his active

259

association with it. As a technical master of typography, and in his
magnificent presswork, he translated himself into his books, but the
exactness of his training is reproduced in his translation of Renner's design
into the rigidity of modern type. The page which is reproduced here
(p. 264), taken from one of the many superb Grolier Club publications
produced by the De Vinne Press, shows both the Renner model and the
modern expression of it as interpreted by Mr. De Vinne. The oblique
serif of the f, the fancy curve to the /;, and the superfluous curl at the top
of the g introduce features which are foreign to the model, and give to
the modern type a "jobbiness" which unquestionably detracts from the
otherwise dignified appearance of the face. Jiff The Gilliss Press, whose
work is now suspended, has contributed its share to the renaissance of
printing in America. Its limited editions of the books of William
Loring Andrews and other volumes issued for private distribution
show excellence of workmanship and harmony in conception rather
than originality in treatment. Instead of specially designed type, these
volumes are rich in decoration, the artistic quality of which ranks with
the best. M At the Merrymount Press, Mr. D. Berkeley Updike has
produced a number of volumes which have made their impress upon
American typography because of his sincerity in carrying out his
announced purpose of "undertaking the work of to-day in the spirit
of the best days of printing." Two special faces of type have been
designed for the Merrymount Press, both of which are among the
successful faces cut in America. The "Montallegro" type, designed by
Herbert P. Home, of London, is used in the volumes of the "Human-
istic Library," issued by Mr. Updike, of which a page is here given
(p. 265). Of the type the London Athenceum says : " We are inclined to
say not only that it is better than any of the many attempts which have
resulted from Morris's revival of the art of printing, but also that it is
even more perfect than any of the fifteenth-century founts on the study
of which that revival was based. It is . . . absolutely without affecta-
tion . . . and so perfectly are the proportions of the letters harmonized
that every page is a thing of beauty. We regret that it was reserved for
an American printer to bring out such an admirable fount. ... It is
the first time that a fount has been designed in modern times which
satisfies at once practical and icsthetic demands. Mr. Home has solved
a problem which has exercised us ever since we began to think again
that printing was an art." jff The "Merrymount" type, designed by
Bertram Grosvenor Goodhue, is based upon fifteenth-century models, and
has attracted much favourable comment. The "Holy Bible" and the
"Life of Benvenuto Cellini," from which pages are here reproduced
(p. 269), are representative examples both of the type and of the typo-
graphical standards of the Press. 3& The writer of this present article
260

would hesitate to include his own design of" Humanistic " type except
that it has come to be accepted by typographical students as represent-
ing an approach to the art from a standpoint entirely different from
that of other designers. The first types were naturally based upon the
best hand-lettering of their time, yet hand-lettering, as an art, reached
its zenith after printing began, in the work of the Humanistic scribes.
This type is based therefore not upon an early type, but upon hand-
lettering at its highest point of perfection. The pages which are
shown here (pp. 266 and 267) have been taken from "The Triumphs
of Francesco Petrarch," produced at the University Press under the
writer's supervision. An examination of these pages will show that
the principle upon which the fount is cut differs radically from that
shown in regular modern types, namely, the ascending letters are short
and the descending letters long. The designs of the letters closely follow
those of the handwritten model, yet avoid the inevitable slight irregu-
larity of such work, which would prove unpleasant in a printed page.
Instead of a single character for each letter, a certain variety is intro-
duced by having several characters, the compositor being trained to use
the different forms exactly as the hand would automatically make a
change in hand-lettering. Charles Eliot Norton says of this : " Most
modern type lacks freshness and individuality, and the new fount to
which the name 'Humanistic ' has been given shows its contrast to the
familiar dry, mechanical form. There is attractive freedom and unusual
grace in its lines, derived immediately from the manuscript model, but
adapted to the necessary rigid requirements of print." M Among other
important volumes produced at the University Press are those decorated
by Bertram Grosvenor Goodhue and Will Bradley, two artists whose
work in book-decoration stands in a class by itself. Much of Goodhue's
work reflects the Morris influence, as will be seen in the page shown
from "Esther" (p. 268) ; but his ability in original design is indicated
by the border and initial of the " Songs of Heredia," which is given on
the same page. M Bradley's work evidences the greatest versatility of
any decorative artist America has produced. Some of his work shows
Beardsley's influence, but no single influence could control so original
a genius as Bradley has proved himself to be. The two examples repro-
duced here (pp. 270 and 271) represent the extremes in his work — one
drawn with a delicacy and accuracy of line which is marvellous in its
execution ; the other bold and heavy, giving a woodcut effect. M No
one artist-printer has contributed so much to American typography as
Bruce Rogers, whose " Montaigne " type is easily the best and most
practical of any special face, and whose productions while associated
with the Riverside Press are marked by an originality and a con-
sistency of excellence beyond what has been attained by any other

261

American printer. He, better than anyone else, through his knowledge
of types and his skill as a designer, has given expression to the
basic principles of the old-time master printers awakened by modern
conditions. His monumental folio edition of Montaigne — pages of
which are reproduced here (pp. 272 and 273) — demonstrates a harmony
of effect eminently appropriate to the style and period of its contents.
The type itself is based upon an early French model, and the decora-
tions and the initial letters (p. 274) are free renderings by Rogers of
the original designs by Tory, in which the retention of the designer's
spirit is admirably accomplished. Jff During the past five years the
Plimpton Press has contributed much to elevate the standard of print-
ing and binding by abolishing to a large extent the prevalent custom
of publishers to produce their volumes by " piecemeal." This has
resulted in changing the making of books from a contracting to a
manufacturing business, and has had its effect in raising the quality of
the so-called " trade " volumes. When the composition, presswork,
and binding of a book are divided up among as many firms, the result of
the divided responsibility often means a general deterioration of quality ;
but by the " complete manufacture " method the volume is planned
out in advance, even to the paper, cover design, and illustrations, by a
single mind. This places the printer in the position of expert manufac-
turing man to a large number of his customers, and enables him to pre-
serve standards and to introduce economies by purchasing supplies in
largerquantities,and by combining forms of text and illustrations in the
manufacture, jff The influence which a publisher can exert upon the
Art of the Book is shown by the series of classics issued in exquisite
form by Mr. Thomas B. Mosher, at prices within the reach of all. These
volumes are distinct evidences of his own taste and knowledge rather
than triumphs of the printer, for Mr. Mosher has expressed himself in
the type, margins, paper, and the general foi^mat of his admirable publi-
cations, iff It would be difficult to estimate the far-reaching results
in the general advance in typographical standards due to two maga-
zines, T/ie Printing Art and The Graphic Arts. The monthly issues of
these publications have shown ordinary printers how to produce work
above the average by placing before them actual examples of the best
combinations of type, paper, and colour harmonies. They have been
educational in the extreme, teaching buyers of printing as well as
printers how to secure the effects desired. ^ In the matter of domestic
production America shows little originality in book-papers, the " Old
Stratford " being the only distinctive exception. No hand-made book-
paper is now produced in America, owing principally to the high cost
of labour. This makes it possible to import from England, France, and
Italy cheaper than to manufacture at home. The " Old Stratford " paper,
262

however, is a unique product, and is used much in volumes oi de luxe
format, and in books where lasting qualities are demanded. In cover-
papers, on the other hand, America produces a bewildering line, which
quite excels those of other countries, offering a variety of selection
which is a tremendous aid to the printer in securing artistic results.
jff Fine bookbinding in America is at present confined to a small
number of individual workers, mostly pupils of the famous English and
French binders, and their principal claim to originality of processes may
be said to be an effort to combine the workmanship of the English with
the artistic skill in decoration of the French. The Club Bindery, which
flourished in New York during the lifetime of Mr. Robert Hoe, could
scarcely be called an American institution, as its best workmen were
brought to this country for this special purpose. Since his death this
bindery has been broken up, and the finest work is to-day being done
by women. Their skill and workmanship rank high, but they are
handicapped by the excessive cost of labour and by the fact that all
their leathers must be imported. The inevitable higher price makes it
natural that American book-collectors should continue to send their
volumes abroad for fine bindings. Amongst those whose work is most
highly prized may be mentioned Miss Sears and Miss St. John of
Boston, and Miss Lahey of New York. M In ordinary trade bindings the
processes are more and more reduced to machine production, but in the
best binderies this standardization has by no means proved a deteriora-
tion in quality. American trade books as a whole compare favourably
with those of other countries, but it is quite true that the constantly
increasing cost of every phase of book manufacture is in some instances
causing American publishers to economize, and to accept a grade of
work inferior to what they would have considered a few years ago.
This, however, should not be regarded as a reflection upon American
workmanship, but rather upon American conditions which force it. In
cover design plain lettering still obtains for books of fiction and for
serious works, but considerable elaboration is used upon smaller volumes
issued as seasonable publications, or with a specific appeal. A few
characteristic examples are reproduced on pp. 275 and 276. J^ It is im-
possible, within the scope of this article, to do more than chronicle
some of the results of the remarkable advance made in the standards of
book-manufacturing in America during the past ten years. The know-
ledge of what constitutes a well-made volume is much greater than ever
before, and the ability of the buying public to discriminate is the most
hopeful promise for the future. In the omission of other examples of
printing and binding, and of mention of other artists entitled to credit
for the part they have played in advancing the Art of the Book in
America, the writer pleads the limitations imposed by space.

263

Note

8 COLOPHONS IN METRE

and set his colophon entirely in capital letters. To
call attention to the information in this colophon
he put a broad blank between each line so that the
composition should have a proper relief of white
space and be made more readable.

Here it may be remarked that Jensen's beautiful
roman type could be used to advantage only in large
and high-priced books which were slow of sale. To
insure a readier sale for subsequent books he, and
Franz Renner too, had to print them upon new types,

Kubert^s celeber finxit non parua mfnorum
Gloria me fratrum Paulo regnante fecudo.
8 Quarto fed Sixto uenics HalbriJna alemanus

Francifcus formis ueneta me prefiit in urbe
Mille quadringentJS 6c feptuaginta duobus .

From s book by Roberto de Litio. Franz Ronncr, Venice, 1472.

much smaller in size, and of the condensed gothic
face or style then in favor as the only proper char-
acter for service books of devotion or of theology.
There were many printers in Italy during the last
quarter of the fifteenth century who were not content
with the mean position and scant wording of the tra-
ditional colophon. Some of them tried to vary the
usual form of words, and to make the colophon more
attractive by putting it in metre. Franz Renner and
the brothers Speyer of Venice, Ulric Hahn of Rome,
and others gave to the reader colophons in metre
that call for merciful criticism. They did their best.

PAGE FROM "TITLE-PAGES" (THE OROLIER CLUB) PRINTED IN
THE "RENNER" TYPE DESIGNED BY THEODORE LOW DE VINNE

264

THOUGHTS ON ART

* *
*

HE painter's work will be of lit- Paint-
tie merit if he takes the paint- i^^g
ing of others as his standard, ^^'
but if he studies from nature ^''"^^
he will produce good fruits; as ^ ^"
is seen in the case of the paint- ^
ers oT the age after the Romans, who continued to ^j
imitate one another and whose art consequently
declined from age to age. After these came G iotto
the Florentine, who was born in the lonely moun-
tains, inhabited only by goats and similar ani-
mals; and he, being drawn to his art by nature,
began to draw on the rocks the doings of the
goats of which he was the keeper; and thus he
likewise began to draw all the animals which he
met with in the country: so that after long study
he surpassed not only all the masters of his age,
but all those of many past centuries. After him
art relapsed once more, because all artists imi-
tated the painted pictures, and thus from cen-
tury to century it went on declining, until Tomaso
the Florentine, called Masaccio, proved by his
perfecft work that they who set up for them-
selves a standard other than nature, the mistress
of all masters, labour in vain.

MERRYMOUNT PRESS: PAGE FROM "THE HUMANISTIC LIBRARY" PRINTED
IN THE "MONTALLEGRO" TYPE DESIGNED BY HERBERT P. HORNE

265

THE T1L1UMTHS OP
TILANCESCO TETILA'R.CH

FL01LENT1NE TOET LAUILEATE

TTLANSLATED BY HENILY BOYD

WITH AN INTTLODUCTION

BY DOCTOIL GUIDO B1AG.1

LIBILAILIAN OP THE

TLO YAL MEDICEAN

LAURENTIAN LIBRARY

FLOILENCE

1MPR.1NTED FOR. LITTLE BROWN AND

COMPANY BOSTON MASSACHUSETTS

BY THE UN1VER.S1TY PRESS CAMBR.1DGE U-S-A-

TITLE-PAGE FROM "THE TRIUMPHS OF FRANCESCO PETRARCH " (LITTLE.
BROWN AND CO. AND JOHN MURRAY) PRINTED IN THE "HUMANISTIC"
TYPE DESIGNED BY WILLIAM DANA ORCUTT

266

HETLE AUSTICIOUSLY BEGINNETH
T H E T1LIUMTH OF LOVE

BY riLANCESCO TEtlLAB^CH
■FLO'B.ENTINE TOET LAUILEATE

PAR.T ONE OF THE TE-IUMPH OF LOVE

Tslel tempo cbe rinnouak. t mvei sosptri

HE PATAL MOILN
ING DAWN'D THAT
BILOUGHT AGAIN* THE
SAD M EM01L1AL OV
MY ANCIENT TAIN

Tbait day, tbe source of long-protracted woe".
When I beoan tbe plaoties of Love to know,

Hyperion's throne^ along tbe a2:ure field,
Between tbe splendid boms of Taunis wbeel'd;

And from ber spotise tbe Queen of Morn witbdrew
Her sandals, oemm'd witb frost-bespangled dew.

Sad recollection, rising witb tbe morn.
Of my disastrous love, repaid witb scorn,

* The anniuersarv of April 6, when bis passion for l_aura commenced.

PAGE FROM "the TRIUMPHS OF FRANCESCO PETRARCH" (LITTLE,
BROWN AND CO. AND JOHN MURRAY) PR INTED I N THE " HUM AN ISTIC "
TYPE DESIGNED BY WILLIAM DANA ORCUTT

267

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'|[§g>ToXoXoXoToXolgIo:S>IoXoXo^^^

ANDREW CAMPBELL

To fully approciiitc tlie extent of Ihe scr\ices reiulereil l)y Andrew Cnniplx'll.
founder of the Campbell Couipnny, to the priiitinj; art, it is only necessary to
imagine for a moment what the present state of that art would be wtr« it not
for two, at least, of the many inventions and devices of which he was the
orifjinator. The Two-Uevolution IV-ss and the use of "hard packiuf;" are due
entirely to his ingenuity. It was Andrew (.'ampbeirwho. impressed by the idea that
speed, as well as impressional power, miglit be made a concomitant of a Cylinder Press,
invented the " two-revoUition " machine, the principle of which is now in such universal
use that the class has lieeome the standard one of the world. It was Andrew CamplKll,
again, who conceived the idea that a Ix'lter i-esult could be obtained if to the printing
surface were opposetl a hard in place of a sort and yielding packing. To put this
revolutionary idea into effect necessitated the strengthening ot" the machine to such an
extent a.s to enable it to adequately withstand the increased pn'ssure reijuisite. and to
build a machine of this nature cost Campbell a hiuxJ struggle and the work of a
number of years. Kientually, however, he was victorious; and lus a result the rubber
blanket and the felt sheet are to-day relegated to use upon newspajKT presses alone.
Hut these, though the chief, are not the only advantJiges tl>c printing trade owes to
Andrew Campbell. It was he, for instance, w-ho invented the front fly delivery and
was the first to deliver the printed sheet in such a fashion as to obviate the pos.sibility
of the freshly inked surface coming into contnet with any part of the machine. :

Of Campbell's early history.little that is definite is known. He is believed to have
been l)orn in .Nlissouri. and as a lad to have been apprenticed to a blacksmith. It is
known that later on he appeared in New York imd worked as a machinist in the
printing-press maimfactory of A. H. Taylor. It was while he was employed there
that .Moses Beach of the Sun offered a pri/.f for a successful cylinder press adapted
for use by small newspa|)ers. It wius this offer that U'd Ciunpbell to invent and to
successfully develop his Country Press, which bus subsequently become famous, and of
which there are nearly 5000 in use to-day.

i-i^irmrxinn

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•J" •.r'"u"-'v ' 'J' 'S- '■•ji''':i^«'!^''''^'-ry^''<''ii''>''ii'ii'«^^'Ai^\i''''^''>'{)'-''\f'''y'''y''''\j'''''\f''«'[

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K.S.JCaa A33.JVAJ1.JL.-.

a?°«a^-'W,;iT^iJULJtMJiroangiiT3tKJiBH3CJija.Jiim.'njiii.Jui

PAGE DESIGNED BY WILL BRADLEY
FROM "THE CAMPBELL BOOK "

270

A >**/ _

ter

A HutOVf^qf^ViVYOYU^

JiioKVl-^ Confdinin^ the second part of {he reijn of TlTEK,
theHeadstronst, and \i\% qallanf ac^evemenfs on fhe Delaware.

Chaptep^I'^ In which is exhibifed Awarhke por€ra'i€ of
thej^reaf PeteiK:- and how general Van Ta^enburyh
distinguished himself ^t Tor€ Casimir -^^ ^^ ^-^^

ITHERTO, most venerable and courte-
ous reader, have I shown thee the ad-
ministration of the valorous Stuyvesant,
under the mild moonshine of peace, or
rather the grim tranquillity of awful
expectation ; but now the war-drum
rumbles from afar, the brazen trumpet
brays its thrilling note, and the rude
clash of hostile arms speaks fearful
prophecies of coming troubles. The
gallant warrior starts from soft repose,
from golden visions, and voluptuous
I ease; where, in the dulcet, "piping time of peace," he sought sweet
solace alter all his toils. No more in beauty's syren lap reclined, he
weaves fair garlands for his lady's brows; no more entwines with flow-
ers his shining sword, nor through the livelong lazy summer's day chants
forth his lovesick soul in madrigals. To manhood roused, he spurns
the amorous flute; doffs from his brawny back the robe of peace, and
clothes his pampered limbs in panoply ot steel. O'er his dark brow,
where late the myrtle waved, where wanton roses breathed enervate
love, he rears the beaming casque and nodding plume; grasps the
bright shield and shakes the ponderous lance; or mounts with eager
pride his fiery steed, and burns for deeds of glorious chivalry!
But soft, worthy reader ! I would not have you imagine, that any preux
chevalier, thus hideously begirt with iron, existed in the city of New-
Amsterdam. This is but a lofty and gigantic mode in which heroic
writers always talk of war, thereby to give it a noble and imposing
aspect; equipping our warriors with bucklers, helms, and lances, and
such like outlandish and obsolete weapons, the like of which perchance
they had never seen or heard of; in the same manner that a cunning

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